#him/change his character/and force him into the role of son/brother/etc.

[dementedspeedster]

//My brain is being critical about redemption arcs specifically pertaining to Thad. AGAIN.

[evilbihan]

It's interesting how the game never calls Bi-Han a "traitor". Sure, some of the characters do, but the game itself never refers to him that way.

One of his gear pieces is called "Wayward Son" and that is what he is, someone who strayed from the right path and lost himself in his own ambition. He made one wrong choice, one he regrets, if you listen closely to his intros with some characters, like Shang Tsung or Kitana, and it's ridiculous how certain people try and write him off as an evil turncoat who is lost beyond redemption. Liu Kang will try and (at least partially) succeed at bringing him back to the light. I don't get why people are trying to deny Bi-Han any character development and pin him to that one mistake he made or force the traitor role onto him when that's never who he was to begin with.

Bi-Han is the one getting betrayed, constantly, throughout his life. His father kept secrets from him, his brothers turn their backs on him when all he wanted was for them to be part of the future he envisioned for their clan. Even Frost wants to eclipse him and will undoubtedly betray him at some point. His own allies want to kill him after he helped them escape from captivity. Bi-Han has no one he can trust. He's entirely on his own. That may be his own fault to some extent, but I genuinely can't understand how people can be so blind to his suffering or worse, want to see him suffer even more? He's already bearing the consequences of his actions and it's painful to witness.

To get back to the point I made in the beginning, has anyone else noticed how the invasions mode nodes and encounters also never call Bi-Han a traitor or anything of the likes? I've seen Tanya's nodes and even some of her seasonal skins referencing her betrayal in previous timelines, even if nothing hints at her being a traitor this time around. In Bi-Han's encounters, the game only calls him "Ice Fighter", "Chill Initiate", "Snowfall Brother" or "Matchless Cryomancer", always refering to two things, Bi-Han's skills and his affiliation with the cold. That is who he is and always was. A cold, ruthless fighter. That hasn't changed in the current timeline and it makes no sense how some fans claim he was ruined because he made one bad decision.

When equipping Johnny as the announcer voice, the most negative thing he has to say about Bi-Han is that he's bossy, as opposed to how he speaks of actual villains like Shang Tsung ("Hate this guy" etc.). There are no references to his supposed "betrayal" which is why I believe it's only going to be a small part at the very beginning of his character arc that won't hold much relevance for the future, especially as the story develops more, except to serve as a reason for Kuai Liang and him to be enemies.

The way the game speaks of Bi-Han always sounds bittersweet to me and so do the names of his skins/gear pieces. It's almost like a parent talking to or about a stubborn kid that won't take their advice. One of my favorite examples is the kombat league skin that was added this season named "It's cold outside, Bi-Han". It reminded me of Liu Kang telling Bi-Han to "come in from the cold" and I think it's heart wrenchingly beautiful how even outside of the story mode and intros the tragedy that is Bi-Han's story is being acknowledged by the game through all those small subtle references.

One could argue that I'm reading too much into these details but I think some of you don't do that enough. There's 20+ characters on the main roster, the story would have to be dozens of hours long to give all of them in depth background stories and fully flesh them out so we can empathize with their motives. It's hard to understand Bi-Han's character unless you start looking at these small bits and pieces of lore and unfortunately, not enough people do that.

[zxmbe3]

Hi, I don’t post on here like at all but i need somewhere to ramble and Tumblr is SPN hell. So, I wanted to ramble about Sam and Dean with Codependency !

WINCEST DNI :(

Sam and Dean are stuck in a constant loop of Dying and being Revived. This is mainly because they bring each other back, no matter the consequences. Because they cannot live without each other ! A common result of being alone in closed quarters together for so long is relying unhealthy on another person.

This is especially true for Sam and Dean because Dean was Sams main caretaker throughout both of their childhoods. That and the fact that their traumas are almost always intertwined or, in some way, connected. This goes for their happy moments as well. Very rarely do they ever experience anything apart. As a result this has made them dangerously codependent. No matter how much they may want to be apart or grow as separate people, they find it difficult or almost impossible. If they do somehow manage to separate it’s not for very long and they don’t feel as happy as they could because they’ll always feel as if some part of them is missing.

This is especially true for Dean more than it is for Sam. Mainly because Dean had some type of life before Sam but at the Ripe age of Four he was forced into the role of “Protecter” for Sam. The age he was forced into this role is a pivotal moment in a child’s life, it’s when they begin to form memories and when they start to understand “right” from “wrong.” So when John started treating dean like a soldier and not a son, Dean began to believe that his sole purpose was Protecting Sam. Without Sam, dean has no purpose. Sam is his purpose.

Sams Life was his responsibility, If Sam got hurt it was His fault. If Sam wasn’t fed, it was his fault. So Dean was forced to play the role of Mother and Father. He fed Sam, watched over him, protected Sam when nobody was willing to protect Him. He treated Sam like his child rather than his brother more times than he treated him any other way. That changed a part of deans wiring, his soul molded itself around Sam so nobody and nothing could ever hurt him. Even before dean himself knew about monsters he always put Sam before himself. Finding out about monsters only strengthened deans need to protect Sam.

The base of Deans character is built around Sam. Everything he does can be traced back to Sam. His personality stemmed from a bone deep need to protect his baby brother. So he never let Sam rest, even when that’s what Sam wanted.

Dean will always bring Sam back. Every time Sam dies, Dean will be there to raise him back up. Because that is his job. Because without Sam, Dean had no purpose. When Sam leaves him, dean brings him back one way or another. No matter how badly he wishes Sam had never gotten involved. Without Sam, Dean believes he is nothing.

Without Sam he feels as if there is nothing left for him at all. It's almost the same for Sam but Sam never had that raw, parental, urge to protect Dean. So Sam is able to do things like marry the girl he loves, get a dog, go to college. Dean can never do that because everytime hes tried (Lisa, Sonny’s boys home, etc) he’s always been dragged back. Follow Sam.

Sam comes back when Dean wants him to, Dean comes back because He Needs It.

[chromotps]

The thing about Ace/Sabo is that the ship is less about them being brothers but more like them sharing a childhood friendship? That had the potential of becoming something more in the future. Except it didn’t, for obvious reasons. And yeah not everyone’s a fan of that, but people also like the raised by wolves/son of a noble dynamic they had as children. While I agree Sabo does kind of feel like he was stuck to Ace&Luffy as an afterthought, with a piece of chewed-out gum — his existence doesn’t… I don’t know, feel out of place? I also enjoy how kinda tragic his character is, and how he carries that tragedy with him? In the form of Ace’s devil fruit (Sabo also canonically hallucinates and there was an instance where he admitted to hearing Ace’s voice, during his fight with Burgess? so yeah, not everyone’s cup of tea again but I’m a huge fan of hurt/comfort so having a character go through a psychotic depressive episode because of the insane guilt he feels? Just, yeah. Plus there’s something really poetic about him literally eating Ace’s DF and still considering it „Ace’s powers” etc) and the way I see Sabo/Lu is through Ace/Lu (and partially Ace/Sabo) anyway. Because Sabo is trying to fill out the role of an older brother/friend for Luffy that he’s well aware is impossible to fill — because nothing ever will be the same for Luffy. Nothing or no one could even come close to making it up for Ace’s loss to Luffy, and Sabo knows he’s kind of a cheap copy of that (figuratively and literally lmfao, as I know people have been calling him low-budget Ace), but still he tries to? And the fact that Luffy is technically his only remaining family (or at least someone he willingly considers family). And I kind of see it as a parallel to how Ace’s approach to Luffy changed after Sabo’s „death”? Because Sabo was the „kinder” brother, the nicer one, the smarter one, it was usually him who took Luffy’s side whenever Ace was annoyed with him? And the one who explicitly asked Ace to look after Luffy — which then was one of the direct reasons why Ace changed the way he treated Luffy, forced him to be more patient/learn to love and eventually led to Ace willingly becoming the „older brother” figure for Luffy. I’m in no way trying to convince you to like Sabo, don’t get me wrong!! I’m just trying to show an example how Ace/Sabo isn’t necessarily brotherly either (like, I don’t know, Sabo/Luffy seems to be?). And it’s just that while I’m first and foremost a huge Ace/Lu enjoyer I also think Sabo did have a significant impact on their relationship both before and after Ace’s death.

((!! sorry i took a while to reply! i made that post before work on Friday and then got slammed until just now fdghjgk)

the odd thing is, I mostly agree!! I think I had to vent bc i saw ppl (a few specific sabo fans haha) on twitter acting like luffy would feel nothing toward ace but be obsessed with sabo. and, lol, no. but what YOU said makes total sense. like, yes, Ace + Sabo definitely has a different, more involved feeling to me than Ace & Luffy. I've had some ships in the past that fit the raised by wolves/runaway noble trope... the charm of the noble feeling like "this is the only person I feel like I can really be myself around" and the wild one thinking "i like spending time with this noble—they're tougher/kinder/funnier than i gave them credit for" AND/OR "society has always rejected me, but this 'cultured' person accepting me heals that pain a little bit"—all of those things are really charming.

Maybe if we'd seen more about how ace and sabo became friends, or if there were more emphasis on sabo's acceptance being what helped ace's anger (instead of, just from how i saw things, it being mostly luffy's unconditional warmth toward ace that did it?) then I'd personally be more feral about that dynamic, haha. But it's like you said, I guess it all depends on what we each connect with. I dont find tragedy alone compelling... I'm depressed enough already as it is LMAO!! if I think too hard about how viscerally sad Sabo only remembering Ace after he'd died is, my brain just shuts down. But I've got really good friends who would EAT THAT UP. Like, yeah, it is beautifully poetic... hahaha now i'm laughing thinking about my friends who were really into Hamlet and Romeo & Juliet finding out about Sabo & Ace and being obsessed, ahaha (they're not so into One Piece tho, only jjk... at least, for now!! 😈)

it's hard to put into words, but there's something about Sabo being a revolutionary vs. ace and luffy being pirates, that kind of explains why my brain sees A+L as very very very different than A&S or L&S. But like, that's just my brain and how my heart likes to focus on characters with really codependent relationships/dreams/themes, hahaha...

[earthstellar]

I think it definitely depends on how a person personally and otherwise may define a "fatherly figure" or "fatherly behaviours" etc.

Like in G1, in the USA, a lot of what Optimus says and does (and how he says and does it) could easily be interpreted by a North American audience as being "fatherly".

For example, the way he makes "dad jokes" here and there, or how he does casual activities with other bots (like playing ball etc.) between missions might come across as an average American 80s suburban dad coming home from work and playing driveway basketball with his kids.

However, like you mention, translation and language/culture can also factor in. If Optimus was called "big brother" in your dub, then of course, he's more likely to come across as a big brother! :)

And it's worth noting most Transformers media is very USA-centric, with implied "dad-like behaviours" that simply don't read as such to other people.

If someone is from a culture where fathers are typically depicted as very prone to displays of physical affection with their kids, then Optimus may not come across as very fatherly in most continuities, since we rarely see him hug others (although it does happen here and there in G1).

I'm focusing on G1 here, so I'm not getting too much into other continuities.

But I think another thing is worth mentioning: Time!

G1 was made by people who grew up in the 60s and 70s, and based a lot of Optimus' "dad energy" on what they considered positive experiences with their own dads and male role models in their youth.

Some staff were fathers themselves, and wanted Optimus to show good, mature, leader-like traits for kids to emulate. Peter Cullen based his performance for Optimus off of his older brother, who was an important figure in his life and captured those positive leadership traits.

As time goes on, generations change, society changes, and what is considered "fatherly" or "mature" or even "masculine" all exists on a sliding scale.

In the 80s, the fun-loving post-WW2 good natured silly but firm father was still the main Dad Archetype in the USA, even though that type of "fatherly leader" character was developed (and for some, experienced) from the 50s-70s.

Oftentimes, that archetype had evolved out of the immediately prior literal WW2 fictional depictions of strong field leaders who were "fathers to their men". Unit leaders acting as fathers away from home for young troops.

This trope was often part of "comfort stories" back home, to reassure families that commanders were looking after their sons at war. (It also helped propagandise the military and improve public perception and empathy for armed forces, coincidentally. Sigh.)

So that history of the archetype is worth keeping in mind; Father doesn't necessarily mean a dad in western (and some other regional) media tropes, but it can also refer to a good commander who looks after the wellbeing of his troops and may even engage in self-sacrificial behaviours if needed to save his troops or his mission.

And that definition of "father" makes a little more sense when thinking about Optimus Prime-- But it's pretty specific to a lot of WW2 English language media and stories which may not have been relevant or culturally applicable in other regions, although almost every country on Earth has some version of the "fatherly military man" archetype.

So compare the sillier, more open G1 Prime to TFP's Prime, made for later generations who mostly grew up with a lot less overall stability in the world (Cold War aside) and which had Gen X staff involved-- Who had different cultural and media tropes in mind, and different (but perhaps similar) ideas of good leadership qualities, etc. when compared to the writers for G1.

Optimus in TFP is about controlled (but very present) emotions, he provides a sense of stability to his team, he is always a present figure, he displays patience and politeness, and generally may embody "dad energy" in a way that makes more sense when compared to both the "father to his men" wartime trope archetype AND the 80s USA Yuppie parent style which the Gen X writers would have grown up with themselves:

TFP Optimus may be emotionally distant or occupied at times, is not physically affectionate, and is often socially somewhat distant as well, but he is professional and a good leader which the Autobots can rely on and the younger bots can look up to and emulate in positive ways.

And to the USA audience, that may come across as more "fatherly" to many people, compared to if he was more engaged. Which is probably somewhat sad, but true.

Growing up Back in the Day lol, I knew tons of kids whose fathers never hugged them and never spoke to them, but would still take a day off work and show up at school to physically fight a teacher if they found out their kid was being bullied in class.

When you grow up with that kind of thing as your social and cultural model for "being a dad", then grow up to write Transformers media, you'll probably end up putting a little bit of that into your interpretation of Optimus-- Because Optimus is supposed to be a positive mostly masculine coded figure of authority, and a lot of people will think of their dads, since that fits the description for a lot of people.

So personally I don't think of Optimus as a father, but I do think of him as a father-like figure to bots who need to see that in him, and otherwise as a compassionate leader. The "father to his men" type of military fiction archetype, rather than a literal dad.

But everyone will have a different take, influenced by a lot of things! :)

The G1 writers captured the vibe of post-WW2 American stability with more of a fun but wise and experienced role model energy for Optimus.

The Gen X writers for later shows grew up in a much more high intensity world with global and domestic politics starting to hit major shifts, so their Optimus tends to be written as a source of silent, stoic stability for the bots who are stuck without a clear future.

It's possible to read "dad energy" into any version of Optimus if someone wants to, but it will vary a lot.

Like I said, I see him as "fatherly" in the "idealised compassionate military role model" way, but for others it varies from series to series, and for others they might always see Optimus as one role or another.

Transformers stuff is written mostly in America by mostly Americans, so some of the "dad vibes" may not translate, or might translate in different ways.

Even to the USA audience, I think it's highly generational and dependent on what one considers to be "fatherly" and in what ways.

It's not that Optimus was ever explicitly written to be dad-like, but rather, what people perceive as dad-like may vary, and some TF media does lean into depicting Optimus as more relatively fatherly while other shows etc. don't.

---

I didn't talk about any other TF media here, but hopefully comparing G1 and TFP sort of helps get across what I'm trying to say! :)

Anyway my lunch break is over now, sorry if any of this is incoherent, not well stated, or repetitive; I typed this all out on my phone LOL

A popular thing I can never get behind in the TF fandom is somehow Optimus is always The Dad Figure TM? None of the continuities I’ve read/watched has ever given me that vibe. Mentor figure, sure. Older brother. That weird cross between older brother and father. The dubbed version of G1 in my country literally has the Autobots calling him “big brother” so I guess that affects my impression. 

Like honestly the closest I can relate to Dad!Optimus is the Optimus in tfp and idw, and that’s more like, a patriarch. A father in the sense kings are fathers to their people. Bayverse OP also falls a little into this category. They care a lot for their Autobots, there’s love and friendship and devotion, but they’re also distanced by the weight of leadership. The duty of Prime (and all the baggage that comes with it), always comes first, before any personal connections. 

The rest: Cyberverse Optimus is def big brother. Tfa OP is a young guy in over his head and trying to herd cats. Wfc OP is vulnerable both physically and emotionally, stubborn but in constant need of reassurance; Bumblebee’s mental state is more stable than his. 

[ivydarkrose]

Nathan the Nobody

Full Name:

Nathan Maxwell Lux 

Alias(s):

-Nathan the Nobody

-The Nobodies

-The Conjoined Twins

-Nat/Nate [Nickname, Pronounced just like Nate]

-Max[Old Nickname] 

-Natty, Nats [Ciara only, others he’d give them the look]

-Sass Ass [Vero]

-Pretty Boy, Bestie [Candy Pop.]

-DD [They know who they are]

Name origin:

 He is a nobody, but not as in “not cared for/loved”. After all he has people who are there for him.

Nobody comes from more of a social standpoint, a social outcast rather than someone that just dresses differently. A person not in power, or popular, etc etc.  

I view him as the very counterculture type of person, possibly what one would call an anarchist on some levels. With events years involving his twin sister, that has more less solidified his ideology on the matter. 

Sex/Gender:

Male- He/They

Age:

Approx. 22-26 years of age 

Species:

Human [Possesed?], A Visitant [Crystal]

Disabilities/Conditions: 

Heterochromia iridis (From Birth)

PTSD [Diagnosed after him and sister was found night of origin]

Others, however I am not comfortable labeling such

Ethnicity:

Mixed ethnicity (Eurasian)

Hair color:

Black 

Eye color:

Green[R] and Icy Blue[L]

Height:

6’0’ barefoot

6’2’ in boots

Weight:

190 approx. (this may need changing lol)

Birthday:

Oct 29th

Birthplace:

 He’d never tell.

Attracted to:

Personalities

Currently living in:

Deep within the woods, along with his sister.

Occupation/Type of Killer:

Assassin, SK, Angry goth guy yelling at teens to name 3 songs

________________________________________________

Type of Personality: 

Quiet, observant, introvert, often acting aloof. He can become very loud and lively around friends, Often joking about, other times a prankster of sorts. He often is sassy and sarcastic, you may feel his venom if he doesn’t know you or trust you. He’s a loyal guy, which this is obvious, but don’t fuck with the ones he loves and cares for. His “Don’t touch me , go away.” vibe is just a mask to keep others away. Even more so now.

He jokingly roasts his friends, but will respect boundaries unless someone crosses his. He does find it humorous to prank others, especially hiding things without others noticing, just to see their reactions. 

Betrayal is something you do NOT do with him, depending on the severity he may even act out to seek retribution, the “Eye for an Eye.”. He doesn’t always bother, as trashy, backstabbers are a waste of his time. However, he has no guilt in making sure the backstabber hurts as he deems fit,...or sending your soul in for Ciara’s quota. Price one pays for betrayal.

Likes:  

Stealth

Pranking or toying with others

CATS

His Necklace

Innuendos

Rain

Games and other assorted things

Acting on his Annoying little brother status

Calling Crystal “little Sister”

Hugs but also no

Nighttime

Horror genre

Swimming, water, etc

Goth Aesthetics 

Chocolates

Dislikes:

Broken Trust

His mother suffering

Busy bodies

Getting Jealous

Narcissists

Being told to cut his hair

People with no sense of humor

Animal abusers

Child abusers 

Trafficters 

Strengths +/Weaknesses-: 

+

Stealth Missions

Little Details

-

Green Eyes

Children

Normal human drawbacks

etc

Weapons:

-The Pipe from the room that held him captive, Now modified. The ends are slightly weighted to drive more force into the attack. 

-Things lying around, So yes he’ll pick up a knife here and there.

Character Origin Shortened:

 Nathan grew up with his twin sister, Crystal and his Mother. His father buried himself in his work, while the excuse was to support the family, it was also to avoid getting into confrontations with his own son. So while his father was there, he was very much lacking the role in the family dynamic.

One unfortunate day, Him and his sister were abducted by a group who dealt with black market trades. Upon pissing them off, He was left to rot in a dark, cold cellar room, trapped behind a metal door. His sister's well being only on his mind, and the ever growing anxiety between the two. His sister suffered a great amount of torment from the group who were left to their own devices, Her own rage turned into a gruesome death... Just moments before Nathan escaped his own imprisonment.

Once realizing he failed his sister, his grip on being the protective brother she needed faded away and crashed into a hard dilution. Her voice echoed the sentiment of making them and everyone connected pay for this. Unable to accept her death, he locked that part of her death away deep, deep in his mind and continued to believe she is alive, but only if he takes care of the group that made him suffer, that made them both suffer. He didn't stop at the ones in that house, aiming his anger at everyone he believes to be a part of this organization. Enjoying the idea of watching those members die, only able to see them as ones who harmed his family.

Quotes:

“ We are two halves of one coin.”

“No one can separate us.”

“Drip… Drip…  Drip… this sound haunts me, yet comforts me.”

Character's soundtracks/Themes:

Time of Dying 

Down With the Sickness - Disturbed (Cover)

Charcoal Tongue - "Control" (by Halsey) 

Songs on his phone:

Otep - Confrontation

After Dark 

Out Of Control She Wants Revenge

Kidneythieves - Crazy 

The Birthday Massacre - Red Stars

[More to add However i’ll do that in a spotify list or his TH idk lol]

__________________________________________________

Family/Relatives:

[Mother]

Alexa K. Morin-Lux

[Father]  

Calix* J. Lux (*Not Birth Name, Chosen English name)

[Aunts/Uncles] 

2 Aunts, 1 Uncle

-Cousins-

[Unnamed x 3]

[Siblings]  

-Father’s side- 

Terrance [Elder Half Brother], Ren [Second Elder half Brother]

-Mother’s side- 

Crystal Lux [Twin Sister, Deceased…?]

[Niblings]

Two (which he secretly spoils)

[WIP]

Friends/Allies:

Candy Pop [Canon best friend], Puppeteer, Crystal, Jason, Sally, Vine, Grande, Jane R, More to be Named

Neutral with:

Jeff the Killer, Morivin, Drolsoir, Slenderman, BEN,  more to be named

Enemies:

Night Terrors, more to be named

Romantic Relationships:

Ciara H. Callaghan [Child of Possed Candy Pop aka Night Terrors]

Previous Relationship: 

[3 Exs]

Sarah

TBN- NB bean

TBN

The Story of How he Met Ciara:

Being Best Friends with Candy Pop, Nathan often ran into and met the children of Night Terrors/ Night Terrors Fused Candy Pop also known as the Anathema. One of these hybrids he met was Ciara, who promptly took issues with Nathan. She was easily coaxed by others to mess with Nathan, her reasoning at the time was him being too weak.

Being around her and her siblings was a risk, given if Candy pop wasn’t in control then the  horrible demonic influence of Night Terrors put his life in danger. An ending that would be slow as Night Terrors would gleefully torment Candy Pop with the loss of another person he cares for.

Nathan would sneak around, and wait to make sure it was safe to get near. He himself enjoyed being around Ciara, even with her harsh behavior, something about her he just admired. Something he assumed was her strength, being able to protect herself and avoid dangers is what drew Nathan to Ciara.

Along with Pop, she picked up on calling Nathan “pretty boy” which he never found offensive and gladly welcomed, always giving her a smirk along with the nickname. Nathan picked up on her apprehension and overall strange behavior around him. Being somewhat of a button pusher and troll himself, he opted to start teasing her in a more gushy manner, enjoying her reactions to his advantages. This also leads him into coherising her to train him, so he may get stronger.

Over time, she opened up to him more, her own view of being less femminine, too much of a tomboy, especially compared to him, jealousy over his looks vs her rough appearances and scars. Truthfully she had unhealthy ways of managing her feelings due to how she grew up, and he gave her all new feels, that made her feel like running many miles at the sight of him.

They both connected emotionally, both of them losing their twin in one way or another. Both holding onto trinkets from their twins. This connection just helps them to grow stronger to one another. Her the bracelet from her twin brother and him the necklace he carries. All of her suffering was something that Nathan could more than sympathize and relate to. They found a confort with one another, leading to feeling passion, a spark. 

He admired her strength, feeling ease knowing no one could take her away from him, like his own family was. Until he realized the true situation of Night Terrors dawned on him, one that affected not only her, but his best friend Candy pop. 

__________________________________________________

Notes/Facts: 

- In case the info is a TLDR, Nathan’s while not BUFF is lean, mostly thanks to Ciara who trains him

- A Lot of this info is lifted from his Umbra Ref, because one in the same pretty much lol

-Its been a while since I touched a lot of this info, so I might be forgetting things 

Art and Nathan the Nobody (Nathan Maxwell Lux)  © IvyDarkRose

[caelestis-composition]

killshot anon! YEAH i totally agree w/ your view on kaeya. it's so weird to me that people will blame him for his role in a situation he was forced into as a child through no choice of his own. that itself had to be traumatic, not to mention everything that happened later. i hate when people say he's untrustworthy - like yeah, he's lied, so has everyone? it's clear he does it mostly to protect himself. not to mention that (& sadism) can be symptoms of trauma. kaeya deserves nothing but happiness

take a seat folks it’s time for a “brynn should’ve been an english major” lesson! today we’re gonna learn some literary theory; specifically, we’re gonna apply psychoanalytical trauma theory to kaeya’s backstory and current character. killshot anon i bet you never thought this would result in a whole ass essay.

disclaimer one! you are allowed to dislike kaeya! i am not saying you need to like him or his character, you’re entitled to your opinion and i’m not here to change your mind.

disclaimer two! i am in no way an expert and this is all for fun! this is just my silly little analysis of one of my favorite characters as someone who’s studied literary theory and rhetoric and can also apply personal experience. seriously analysis is like a hobby to me and this is just an excuse for me to ramble about kaeya.

disclaimer three! this contains lots of spoilers! basically for everything we know in-game, general knowledge as well as stuff from his voicelines and character story. don’t read this if you don’t want spoilers.

since this is going to be filled with spoilers and is about to get really long, everything will be under a cut. for those who wanna read my dumb super informal essay: enjoy!

final note: yeah this is over 2000 words long can you tell i like analysis

⭒

let’s start by getting a quick rundown of trauma theory out of the way. to begin, what is “trauma?” in this case, trauma is going to refer to an experience that greatly affects and changes one’s life; attitudes, memories, behaviors, mental state, etc. while not all changes may be bad, per se, the overall effect of trauma is generally a negative one, which is why it’s so significant. literary trauma theory, then, explores these changes and the impact of trauma in literature. it analyzes the psychological and social effects of trauma, explaining what those effects are and why they happen. in the context of a specific character, trauma theory breaks down said character’s behaviors, feelings, and general mentality in relation to their past experiences; trauma theory hopes to explain to others the reasons for why a character may act or feel the way they do, all based upon the character’s experiences, particularly traumatic ones. our character today is the lovely kaeya alberich, with the “literature” being genshin impact. i’ll be referencing kaeya’s wiki page to ensure i get all details correct for his character story and voicelines.

it would be good to review kaeya’s backstory before delving into the actual analysis. though we don’t know much about his life before living in mondstadt, we’re told he was sent as an agent of khaenri’ah. and by “sent,” i mean his biological father abandoned him in a completely unfamiliar land to serve khaenri’ah’s interests and fullfil his mission—what this entirely entails hasn’t been revealed. mondstadt, however, welcomed kaeya “with open arms when they found him.” crepus ragnvindr took him in as his adopted son, with diluc as his adopted brother. kaeya and diluc were “almost like twins,” so close they “[knew] each other’s thoughts and intentions without a word.” he’d began a new life in mondstadt, one surrounded by friends and family that loved him; one that was completely shattered by crepus’s death. kaeya arrived at the scene of the disaster, and was led to believe diluc was the one who killed their father to “set his father free” from the effects of his delusion. there’d always been one big question in kaeya’s life: if it came down to it, who would he support? the nation that abandoned him, but he still felt loyal to, or the nation and family that took him in and really loved him? overrun with guilt, kaeya confessed his purpose to diluc, sparking a fight between the two brothers. in this fight, kaeya receives his cryo vision. though both brothers stepped away alive, they’ve never been able to make peace with one another. now, kaeya is the eccentric and charming cavalry captain of the knights of favonius; a man who gets his way by using any means necessary, regardless of whether or not it seems right.

kaeya’s not evil; he’s morally ambiguous, and that stems from what appears to be a general distrust of others. his life is one shrouded in secrecy. from the moment he stepped foot into mondstadt, he was surrounded by secrets. even now, he doesn’t talk about a lot of things, namely his past, vision, and feelings. though he’s always willing to get information out of others, kaeya never reveals anything about himself. he repeatedly tells the player they can confide in him, but whenever you try and pry into his life, he deflects your questions with some sort of witty comment or flirty remark. anything he does reveal is vague, or spoken in some sort of “code.” for example, his “interesting things” voiceline. he tells us about the owl of dragonspine, how it “seems to look right through you, while letting go of none of its own secrets,” and then tacks on a “quite fascinating, don’t you think?” it seems like an awfully accurate parallel to himself; kaeya does all he can to get information from others, but never gives anything about himself. now, this whole thing—his relationship with diluc falling apart and his need for secrecy—could have probably been avoided if he had just come clean about his mission years ago. so why didn’t he? to start, kaeya was a literal child. not only are children unable to properly tell the difference between right and wrong, but they’ll also typically follow their parents’ orders blindly. kaeya had just been abandoned, and he wouldn’t want to risk being cast out by mondstadt as well if he came clean right away. you see, there’s this thing about trauma, something that trauma theory states. traumatized people feel a sort of shame or guilt regarding their traumatic experience; they’ll keep quiet because they don’t want to cause problems or bother others with their issues. of course kaeya wouldn’t tell the truth about his past, he doesn’t want to destroy the genuinely loving relationships he’d built in mondstadt. his fight with diluc only proves what he was afraid of: if he’s honest, he’ll be abandoned again. and if kaeya’s used to all the lies, why should he bother changing?

another thing, if he’s not going to tell the truth, then why would he have initially gone along with his father’s plans? again, he was a child. he really had no choice, and was forced into a very wrong and cruel situation. there’s a good explanation for this, too, which is also stated in trauma theory; traumatized people will still do their best to please their abusers. especially if said abuser is a parent, that will drive traumatized people to work even harder to please them. although his father hurt him by ruthlessly abandoning him, kaeya still sought to make him and his homeland proud. he was willing to be used as a tool for their gain; that is, until he found people who actually cared about him. he was an impressionable child, of course he’s going to obey orders. but as he gets older, he feels torn. does he serve those who abandoned him, or those that took him in? his father—and arguably, khaenri’ah as a whole—hurt him, sure, but he still feels some loyalty and connection to his former home. instead of revealing anything, he lets the situation play out. that way, he can’t be blamed when things fall apart.

the thing about claiming he’s untrustworthy is that hardly anyone in-game believes that. he’s adored by the older folks in mondstadt, and foes and allies alike find him easy to talk to. despite seeming lazy and uninterested in work, kaeya takes his job very seriously. in fact, his story states that crepus’s death was the “first and only time kaeya failed in his duty.” the “only time” is especially important, because it signifies kaeya still fulfills his duties successfully. he’s had a total of one slip-up, and hasn’t failed since. no, kaeya is not untrustworthy. rather, kaeya finds everyone else untrustworthy. it’s not unlikely that this is a direct consequence of being abandoned as a child. although it’s been established that kaeya and diluc were very close as children, when crepus dies, kaeya assumes diluc is the one that killed him. in order to jump to such an extreme conclusion against someone he was so close to, there had to be some underlying sense of distrust. furthermore, kaeya expresses feeling as though he doesn’t belong anywhere. he was abandoned by khaenri’ah, and then worried he wouldn’t be accepted by mondstadt. he is, but there’s still that worry. if you place him in your teapot as a companion, he tells you that your home feels like someplace he belongs, following it up with a “heh, who’d have thought…” kaeya still feels as though he doesn’t belong in mondstadt; despite the fact that he’s a high-ranking knight of favonius and rather popular, he still feels like an outsider. he doesn’t trust that anyone actually wants him around, and he finds joy in testing peoples’ trustworthiness. it’s noted in his story and through his voicelines that the beloved cavalry captain has a rather sadistic nature. he likes putting people into difficult situations, to see what decisions they will make. he does this to both opponents and allies, testing to see who’s going to back out and who’ll keep fighting; in the sake of allies, who can he trust? or who will turn tail and abandon their teammates at the slightest hint of danger? i mentioned it previously, but kaeya doesn’t care what measures he has to take so long as his job gets done and he gets the answers he wants. it’s a sort of self-preserving mindset, putting himself above the safety of others. kaeya’s trying to protect himself, which makes sense with all he’s been through. he doesn’t want to be hurt, and instead finds pleasure in threatening harm upon others. it’s twisted, sure, but it’s because he can only trust himself in a world that he believes is out to get him. he’s got as many enemies—if not more—as he does allies; of course kaeya focuses on protecting himself first, whether physically or through keeping his secrets, well, secret.

his most obvious traumatic effect is definitely his alcoholism. but he uses it as a distraction, not just to wallow in self-pity. this is seen again in his story, particularly in story 3. it’s found that when his favorite drink, death after noon, is out of season, mondstadt’s crime rate is decreased drastically. at face value, this just means kaeya spends more time working when death after noon is low in supply. but kaeya doesn’t skip work to go to taverns; it’s already been established he takes his job very seriously, so this means he actually patrols and tracks down threats while off work when he can’t indulge in his favorite alcoholic drink. he doesn’t get drunk simply because he’s depressed. if he did, there wouldn’t be a drop in incidents when death after noon is out of season. no, kaeya uses both the alcohol and fighting to distract himself. after all, it’s a little hard to think about feeling sad when you’re either drunk out of your mind or fighting for your life.

despite being so secretive, kaeya gives us glimpses of his true emotions from time to time. as previously mentioned, his flirty attitude is nothing more than a mask to hide how he really feels; and kaeya is terribly, terribly lonely. that may be why he seems so extroverted. constantly being around people should, logically, drive away that feeling, but it doesn’t work like that. when he talks with the player, he frequently expresses disappointment when you have to leave. each time, though, he dampens the weight of his words with playful or flirty language. he’s lonely, but doesn’t want you to know that, like he’s afraid of asking you to stay. he takes the seriousness of his feelings, and basically bends it into some sort of lighthearted joke. kaeya hides his true feelings—negative feelings, to be exact—so that he doesn’t bother anyone. which is, again, something that happens with traumatized people. he displays that hesitance to reveal his true feelings, because there’s a shame or guilt that comes with his past. he doesn’t want to bother others or hold them back, so he puts on a smile and amps up the charisma. one other very important thing—but very small detail—i would like to note is his feelings toward family. his fell apart not even once, but twice, and kaeya still holds familial relationships in high regard. we know he doesn’t exactly care how he goes about getting his work done. he doesn’t pay attention to what’s “right” or “wrong,” so long as he gets what he needs. but one of his informants, vile, notes that the cavalry captain has one exception: he won’t work with those who threaten others’ families. in fact, kaeya claims those who do should be hunted down and destroyed. even though his own families have caused him so much pain—and he ended up estranged from both—he still understands the importance of having people who love you in your life. because he didn’t get that.

kaeya’s not evil. ultimately, as a knight of favonius, his goal is to protect others, because no one was there to protect him. and because no one was there to protect him, because he’s been hurt time and time again by people who were supposed to love him, kaeya has taken to protecting himself. he hides any and all negative feelings with a charismatic, friendly façade, because he thinks it’ll drive away his persistent loneliness. any “bad” actions of his were hardly his fault; he was forced into a life of secrecy and lies, and then abandoned by the first people who truly loved him. kaeya’s a multi-faceted, tragic character, one that toes the line between good and evil, and that’s what makes him so interesting.

[aalghul]

What's your opinion on the possibility/au timeline thing of Shiva being Jason's bio mom?

I really, really think that Sheila and Willis being Jason’s biological parents in important because he’s just another Gotham kid. He’s not rich; he’s not an acrobat in a travelling circus; he’s not the biological child; he’s not a meta; he’s not born to be the greatest weapon. Like yes, Willis and Sheila clearly had connections and pasts no writer including Starlin cares about, but it’s all about Gotham. Even Willis’ connection to Shiva either doesn’t detract from Jason’s connection to Gotham, or it just cements it even further with Willis’ relation to main characters like her just by being a small time Gotham crook. The only one besides Jason and Willis that Sheila’s connected to is the Joker; you don’t get more Gotham bad guy that that. Both of them, even if I enjoy finding nuances in them, arr very firmly on the wrong side of the law, the type of parents that it’s only expected would produce a crook son. And Jason just defies all of that, over and over.

Rant aside though, in an alternate timeline/AU, I’d like to see how it would be explored. What’s more, I would want everything to have gone down the same including Death in the family, because dying for someone who isn’t even your mother and not even realizing until half a decade later is tragic. I don’t think Cass would have an issue with digesting that Jason is her biological brother because blood doesn’t really matter to her at this point, but I doubt she would be pleased to have another person that’s willing to kill related to her through blood. Jason would have to be really premature considering they’re only 6 months and some days apart, so that’s an inauspicious start to an inauspicious life. Shiva being able to resist the truth serum, then come back to herself a few hours later to realize that the child she thought she’d given up is dead with some other woman they believed to be his mother does have potential.

I like this fic’s take on it for the most part, if you wanted a rec. (No shade to the writer, because I think their other stuff is amazing, but I’m going to say that Shiva’s characterization wasn’t my favourite + warning for Jason giving up killing & a special warning for Red Bat as his vigilante name, which might’ve been cute if Red Hood/Arsenal hadn’t turned me away from it entirely). I’ve read two other fics with this premise and I wasn’t a fan, so I think what I really enjoyed was the inclusion of Richard Dragon. His relationship with Jason is interesting to me, though I have no doubt that it would be bittersweet for Richard and frustrating for Jason to handle. It adds another layer to Jason’s relationship with Willis, though not so much in this fic’s universe as in one where Willis taking Jason in is unplanned on anyone’s part. As a side note, my preference would be to have Talia totally uninvolved in Jason’s life before Robin. I don’t really want her to be part of that mess, and I think her role being part of Jason’s second life is just symbolic. (I’m not nitpicking or criticizing the fic btw. Just because I have different ideas for a story doesn’t mean I didn’t enjoy the way the writer told that story.)

So, in short, it has potential to me but only when done specifically to make up for the value that’s being removed by Jason no longer being the son of two largely unimportant but complex and brutally real characters. It doesn’t change Jason’s actual character or anything, just the impact of forcing everyone to acknowledge him, and challenging them etc. if he’s “special” by blood relation (again, no actual change, just the way he’s going to be perceived).

[logicalbookthief]

The thing with Nana in this chapter is that it falls into the same pattern the Todorokis did in the last one. Obviously, we know Shigaraki and Dabi will be saved by Deku and Shouto. It is the only satisfying conclusion to the story. Knowing this, it makes sense they struggle both externally and internally along the way, because a story without struggle wouldn’t be very interesting.

Externally, this struggle takes the form of the fights, the battles, the hero vs villains routine. Internally, this struggle should take the form of society vs the individual, heroism vs personal connections. And I think that’s why these last two chapters feel so dissonant. 

Both Nana and Endeavor dedicated their lives to being a hero over their own families. Even if the situations were wildly different and Nana had selfless motivations while Endeavor had abhorrent selfish ones, the results were the same. 

And since hero society as it is now is incredibly flawed, it doesn’t find anything wrong with the decision they made! That’s why Best Jeanist and Hawks rally behind Endeavor in spite of Dabi’s broadcast, why Gran Torino yells at Shigaraki for disgracing the memory of a woman he doesn’t even know. There’s this prevalent idea that because they were heroes whose actions benefitted society, this outweighs any action in their personal lives that negatively affected those closest to them.

Except that isn’t true and that’s the whole point!! The wounds of the Shimura and Todorokis families are still open and festering; and the more this pain is swept under the rug rather than addressed by society, the more Shigaraki and Dabi become intent on changing it, even at the cost of destroying it all. And they have no reason to value a society who venerated the heroes while ignoring their victims, rather than holding them accountable for the pain they caused.

The point is that you can’t protect society if you can’t protect your family, because they are part of that society, too. Just like you can’t be a hero if you’re willing to discard the individuals who are difficult to save, challenge those who don’t fit the “good” victim role, lock away those who are born dangerous or unlucky, etc. To quote Dragon from One Piece, because I love that manga and this quote so freaking much, “There can be no happiness in a world where the undesirables are thrown away.”

All of this to say that Deku and Shouto are faced with the same decision as their predecessors. For Deku and Nana, and even All Might, this is more a question of self-sacrifice: what are you willing to give in exchange for the world? Your life? Your relationship with your family? Your moral integrity? Of course the answer is you don’t self-sacrifice at all — the point of living in a society is to help each other, rely on other people, so that nobody is scapegoated and nobody becomes a symbol who must balance the needs of the world on their shoulders alone, while ignoring their own needs as a human being.

For Shouto and Endeavor, this is a question of what’s more important, your obligation as a hero or your obligation to your family? Are you willing to destroy your son/brother to prevent further harm to others? Of course there’s no way to achieve this, because in the process of destroying him, you hurt yourselves, your family, and the son/brother who was lashing out against being hurt in the first place. So you end up failing both your family and society.

We have the set-up for this internal struggle and we know what its conclusion should be. What isn’t making sense right now is that the struggle... Isn’t happening? Because the Todorokis and Nana have seemingly aligned with hero society’s view, which is that the villains must be stopped at any cost, without any consideration to their rights and needs as individuals who were deeply wronged.

And I know we may be jumping the gun, maybe Nana’s words are “just a test” to see what Deku will say, or we don’t have the full context yet, but... That doesn’t change the fact that it was written so Nana asks Deku whether he would be willing to kill her own grandson.

What irks me is that literally any of the other OFA users could’ve said this line and it would’ve worked. To have Nana say it indicates this may be the direction she’s trying to guide Deku towards.

Yes, she understands as a hero that AFO (and by extension the successor he’s groomed and manipulated) needs to be stopped. But she also should realize by now that her efforts to try to protect her family and the world ultimately failed. AFO targeted Tenko because he was related to Nana and he succeeded. All the pain she caused her son, all the hate Kotaro held for her and redirected onto himself and his children, all of it was for nothing. Society is still at risk, now more so than ever, and she doesn’t even have the consolation that her family is safe.

Based on her own experiences as a character, and her personal connection to Shigaraki, she’s poised to be someone advocating for Deku to save her grandson, and yet?

It makes even less sense for the Todorokis to align with hero society, because in Endeavor’s own words, they “don’t belong to the world” of heroes. They are intimately and singularly familiar with the pain he caused as a father and husband, not the good he did as hero, if you exclude his televised fight with the High-End nomu. Being as familiar with Endeavor’s abuse as they are and how much Touya suffered, they should be advocating the loudest to save him, and yet?

Clearly, we’ll have to see where this all goes, but it just seems like an... Odd narrative choice, to say the least. Instead of struggling, the protagonists are being told the same things by people whose views should be opposed, so when it inevitably doesn’t work out they’ll simply turn to the other side, rather then being torn between these two viewpoints and then forced to reconcile them.

And it is kind of frustrating that 300 chapters in and well after the My Villain Academia arc we still don’t have any characters who aren’t villains advocating for the villains. Not even their own families.

[kellyvela]

Has GRRM ever said in any interview or on his blog that he hates Sansa's complete storyline after 4th season? I dont really follow all of his fan/media interactions but from what I can recall he has spoken abt how LF in books wont give sansa to ramsay or how noone had issue when Jeyne was given the Ramsay storyline in books etc. Asking this question to you bcs you rightly point out how ppl misunderstood his interviews/posts ( sansans/targ stans etc) & I cant recall him ever saying he 'hates' sansa's story in the later seasons of the show ( not s5 in particular but even s6 to s8).

Capclave 2013:

A change that has repercussions for season 4 is Marillion’s tongue removal from the first season. Martin said that the change was made (from an anonymous singer being the victim of a de-tonguing) because they wanted Joffrey to maim someone the audience would recognize. He believes this is an issue because of the part the singer plays in Sansa’s storyline, how he affects her interactions with others in the book, and he doesn’t believe another character will be fulfilling that role on Game of Thrones.

—GRRM talks season 4 & beyond - Winter is Coming - October 13, 2013

2014 Fan Reports about Capclave 2013 (*):

In a convention panel this year, George said on the record that he had no idea what they were doing with Sansa or where they’re taking her storyline, which now makes sense perhaps. He was not pleased when he was talking about it, so who knows what’s going to happen with her! Knowing GRRM, that could mean they’re going off the canon reservation, and/or that they’re going to be making a lot of shit up

I have notes I’ll be responding to (thanks!) but enough people commented about Sansa that I thought I’d share that tidbit, since it happened back in September iirc (was the same panel where he criticized the exclusion of Tyrell brothers)

—starkalypse - June 3, 2014

GRRM’s comments at capclave about Sansa (which I was in the third row for, for those asking about legitimacy) were among others during the panel that had a general theme of dissatisfaction with show changes. He was not in good spirits for that con and didn’t really have anything positive to say regarding the show. So take it with a grain of salt; there are deviations away from the books in the episodes he gets writers credit for, so maybe they’re doing something stupid or they really don’t have a gameplan!

—starkalypse - June 4, 2014

(*) These reports were posted in June 2014, during the airing of Game of Thrones Season 4, about Capclave 2013 that happened in October 2013.

Just after the rape episode:

How many children did Scarlett O’Hara have? Three, in the novel. One, in the movie. None, in real life: she was a fictional character, she never existed. The show is the show, the books are the books; two different tellings of the same story.

There have been differences between the novels and the television show since the first episode of season one. And for just as long, I have been talking about the butterfly effect. Small changes lead to larger changes lead to huge changes. HBO is more than forty hours into the impossible and demanding task of adapting my lengthy (extremely) and complex (exceedingly) novels, with their layers of plots and subplots, their twists and contradictions and unreliable narrators, viewpoint shifts and ambiguities, and a cast of characters in the hundreds.

There has seldom been any TV series as faithful to its source material, by and large (if you doubt that, talk to the Harry Dresden fans, or readers of the Sookie Stackhouse novels, or the fans of the original WALKING DEAD comic books)… but the longer the show goes on, the bigger the butterflies become. And now we have reached the point where the beat of butterfly wings is stirring up storms, like the one presently engulfing my email.

Prose and television have different strengths, different weaknesses, different requirements.

David and Dan and Bryan and HBO are trying to make the best television series that they can.

And over here I am trying to write the best novels that I can.

And yes, more and more, they differ. Two roads diverging in the dark of the woods, I suppose… but all of us are still intending that at the end we will arrive at the same place.

In the meantime, we hope that the readers and viewers both enjoy the journey. Or journeys, as the case may be. Sometimes butterflies grow into dragons.

—The Show, the Books - Not A Blog - May 18, 2015

Report about the last Game of Thrones Script that GRRM wrote:

No Wedding for Sansa and Ramsay: Without question, one of the most controversial changes the show made in trying to streamline the books was by slotting Sansa into the role of Ramsay’s wife and rape victim in Season 5. In the books, Ramsay marries and assaults Sansa’s best childhood friend, Jeyne Poole—who is being forced to impersonate Arya—instead. (You can actually see Jeyne briefly sitting next to Sansa in the show’s pilot.)

At the time Martin wrote this script, though, substituting Sansa for Jeyne was not yet the plan. Martin has Roose Bolton tell his bastard son: “We have a much better match in mind for you. A match to help House Bolton hold the north. Arya Stark.” It should be noted, however, that in Martin’s script, Sansa isn’t free from menace either. At his own wedding-day breakfast, Joffrey still threatens to rape the older Stark sister—once he’s “gotten Margaery with child.”)

—Game of Thrones: The Secrets of George R.R. Martin’s Final Script - Vanity Fair - December 7, 2018

A month before the Game of Throne S8 Finale:

Sansa’s story, in particular, has really deviated from the books. Ramsay Bolton — that marriage obviously was with a different character. When they start deviating like that, did you initially have any emotional reaction, even though you worked in Hollywood for many years yourself?

GRRM: Well, yeah — of course you have an emotional reaction. I mean, would I prefer they do it exactly the way I did it? Sure. But I’ve been on the other side of it, too. I’ve adapted work by other people, and I didn’t do it exactly the way they did it, so ….

Some of the deviation, of course, is because I’ve been so slow with these books. I really should’ve finished this thing four years ago — and if I had, maybe it would be telling a different story here. It’s two variations of the same story, or a similar story, and you get that whenever anything is adapted. The analogy I’ve often used is, to ask how many children did Scarlett O’Hara have? Do you know the answer to that?

I know it’s different in the book and the movie …

GRRM: Three children in the book, one by each husband. She had one child in the movie. And in real life, of course, Scarlett O’Hara had no children, because she never existed. Margaret Mitchell made her up. The book is there. You can pick it up and read Mitchell’s version of it, or you can see the movie and see David Selznick’s version of it. I think they’re both true to the spirit of the work, and hopefully that’s also true of Game of Thrones on one hand, and A Song of Ice and Fire on the other hand.

—George R.R. Martin on the Stark Sisters and Ending ‘Game of Thrones’ - RollingStone - April 22, 2019

James Hibberd’s Book:

GEORGE R. R. MARTIN: Jeyne Poole was included in the pilot—she’s shown giggling next to Sansa—but she’s never seen or referred to again. I actually wrote Jeyne into “The Pointy End,” my first script, when Arya killed the stableboy. I had some stuff with Jeyne running to Sansa being all hysterical and dialogue in the council chamber with Littlefinger saying, “Give her to me, I’ll make sure she doesn’t cause any trouble.” That was dropped.

DAVID BENIOFF: Sansa is a character we care about almost more than any other. We really wanted Sansa to play a major part in that season. If we were going to stay absolutely faithful to the book, it was going to be very hard to do that. There was a subplot we loved from the books, but it was a character not involved in the show.

GEORGE R. R. MARTIN: I was trying to set up Jeyne for her future role as the false Arya. The real Arya has escaped and is presumed dead. But this girl has been in Littlefinger’s control for years, and he’s been training her. She knows Winterfell, has the proper northern accent, and can pose as Arya. Who the hell knows what a little girl you met two years ago looks like? When you’re a lord visiting Winterfell, are you going to pay attention to the little kids running around? So she can pull off the impersonation. Not having Jeyne, they used Sansa for that. Is that better or worse? You can make your decision there. Oddly, I never got pushback for that in the book because nobody cared about Jeyne Poole that much. They care about Sansa.

—Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series by James Hibberd - October 6, 2020

GEORGE R. R. MARTIN: My Littlefinger would have never turned Sansa over to Ramsay. Never. He’s obsessed with her. Half the time he thinks she’s the daughter he never had—that he wishes he had, if he’d married Catelyn. And half the time he thinks she is Catelyn, and he wants her for himself. He’s not going to give her to somebody who would do bad things to her. That’s going to be very different in the books.

—Fire Cannot Kill a Dragon: Game of Thrones and the Official Untold Story of the Epic Series by James Hibberd - October 6, 2020

I hope it helps you.

Thanks for your message.

[codenamesazanka]

Hello, I hope you are well. For the unpopular opinion ask: Shouto Todoroki is not a well-written character. (But pls let's not fight!! I come in peace). Thank you and hope you have a great day.

Heya! And wow, starting off strong! 👌🏼

Hmm, I disagree - Shouto is a well-written character... Just sometimes underutilized, and unfortunately boring - to me. imo. He's just not my type of fav.

Shouto has a solid backstory, goes through tremendous character development, and forms one of the backbones of the story via the examination of his relationship with his father the Pro-Hero and conflict with his older brother Touya/Dabi. He's got goals, strengths and weaknesses and flaws, and he's got ongoing internal conflicts that merges well with his external conflicts. His interactions with his family and classmates gives plenty of meaty material, and he's also actively doing things that affect the plot.

Design wise, he's distinguishable, easily-identifiable, and cute. He's got super strong superpower(s) that allows him very versatile tactics or victory through pure strength and force. His appearance ties into his backstory, from the hair to the scar to the ice and fire, which is good visual storytelling.

That checks off a lot of the 'criteria' for well-written character! A checklist isn't the end all be all, of course, and so his character succeeds by becoming more than just that. He's a character to watch and take interest in - a reader must take interest in. Plenty of people find him a very interesting character and his circumstances compelling; they relate to him and his struggles, and it's fun to watch him turn from an aloof, angry student to a kind, helpful Hero of his own imagining.

He's a perfectly good character in the story of My Hero Academia. I personally just find him utterly boring.

I've been spoiled on his character-type 'processors': Gaara, the kid who was also born to be an ultimate weapon, isolated and trained, and suffers for it; and Zuko, the fire kid with a scar on his eye who also has major family drama. They were intense, they inspired in me much more emotions, I felt their choices had much bigger impact and repercussions and ripples that intrigued me; so comparatively, Shouto just didn't measure up.

Part of it is the writing around him - not the writing about him, but around him - the world and his role in it. Compared to Gaara - ninja-world equivalent of a Weapon of Mass Destruction and child of the leader of a major world power; and Zuko - Prince and Heir to the Main Villain Empire and trying to catch the one Hero that threatens their global conquest; Shouto is just any other good kid going to school, learning to be a Hero, not able to make major changes that really affects stuff. He can't, because he's 16-years-old in a modern-ish society that limits the power and responsibilities of children, and he's a good kid who isn't gonna jeopardize his chances of success. He does what he can, his interactions with the people around him are significant - though mostly on an individual level; and the Todoroki Family Saga has only started, so he always had potential to really change things - just not yet. He really makes sense for the character he's supposed to be, and that's a good thing! Just not my thing.

I guess you can say the fact that he hasn't gone rogue or really rock the boat is bad writing; but I think that's more of an opinion about what you want out of the story and character. For a lot of people in the fandom, his emotional and interpersonal journey fulfills their story satisfaction.

Which is why for what I want for the story, I think Shouto and his character and storyline shines best when he's interacting with his family - Endeavor, Rei, his siblings, Dabi. The Todoroki family conflict is connected closely into the worldbuilding, the themes of Heroism and responsibilities and atonement/redemption and conceptualization of power in the HeroAca world, and the overall story question of whether or not society will be destroyed. His decision to continue interacting with Endeavor, his thoughts and feelings on redemption/atonement, what he thinks he's obligated to do as son and brother, how that will affect what he thinks Heroism is - All that is real good. And the Todoroki family story is best when everyone plays a part (yes, even Endeavor) in a sort of ensemble cast, so it's not particularly Shouto that I'm interested in in this case either.

One can probably make the argument that the changes he goes through at school affects this, which is true; but I think Shouto could've had his epiphany with a total stranger or even off-screen and that wouldn't change how the rest of it plays out.

(God I hate that Sport Festival "Talk-No-Jutsu". I didn't get it and wasn't convinced back then, I still don't get it and am not convinced now. But that's also more with my issues with Deku.)

I'm very tepid on Shouto also because I love my angry, fucked-up kids, love my terrible, no-good-doing characters (Gaara straight up killed people, Zuko being the imperialist soldier he was). Shouto was angry and aloof at the beginning, but he was still an observably polite, good kid: no hurting other people, getting good grades, etc. He would've appealed to me more if he was burning and frostbiting kids left and right, if he was cruel and arrogant, if he was unpleasant and a bully. If what he did left big consequences, if some of his actions were unjustifiable, if his epiphany and 'change for the better' arc was much harder and tougher.

That would've made him a more polarizing character, but I would've been much more interested in how he'll develop in the long run and he affected the world around him.

(Ironically, that means I would've liked him if Shouto acted more like Touya/Dabi. Which seems paradoxical, except I do like Touya/Dabi - that is, canon!Touya/Dabi, the one who is fantasy racist and sexist and ageist, is sadistic and out to really hurt people. We need more of this Very Unpleasant Dabi. Not because I wanna hate him, but because that's also more interesting to me than the usual conceptualization of him as a tragic Loving Big Bro whose flaws can be completely blamed on Endeavor.

Basically: 'unforgivable' characters with big, unjustifiable actions and no excuses -> my great attention.)

Sorry this got super long! Thanks for Reading! And thank you very much for the ask! I hope you have a great day as well!!!!

[belle-keys]

I Love Matthew Fairchild aka Incoherent Thoughts about Chain of Iron (2021) by Cassandra Clare

I made one of these rant-rave reviews for SJM's book so check it out if you want, no pressure tho lmao.

Aight so I finished Chain of Iron last night and OMG I HAVE TO YELL like I loved it sooo much like yooo, I have a lot to say. I know the book is new so... beware for spoilers plebs.

Also context: I been reading the Shadowhunter books since I was 12 and I'm 19 now *insert dead emoji face* so yeah, I'm just so happy rn with where the Chronicles have come and the fact that they’re still ongoing *insert uwu face*. I remember when in like 2014-2015 or something when Cassandra Clare teased that Will and Tessa's kids' generation was gonna get a trilogy set in Edwardian London, loosely based on Great Expectations, and holy hell? I think that was perhaps one of the best days of my life considering how much I adore The Infernal Devices (that trilogy really changed the way I see YA literature... don't ask cus I won't shut up about it) (also yes I read TMI and loved it too but there's a “generation gap” between TMI and the other Shadowhunter books stylistically so don't ask me about that either cus I also won't shut up).

Anyway, shoo from here if you want a critical essay on Chain of Iron. I'm not providing that, this is just me raving here for the fun.

Listen... I want the bulk of this to just be two main things: The Matthew Situation, and then all the literary and judeo-christian meta aspects of it.

BUT I ALSO NEED TO TALK ABOUT EVERYTHING ELSE SO FRICK LET'S JUST START WITH THE OBVIOUS SHIT LIKE THE PLOT AND WHATEVER

Okay, the plot and writing and shit, let's get that out of the way:

The WHOLE Jack-the-Ripper-esque ambiance was just sooooo good man wow like I did not expect the book to take this cold turn but it worked so well. There was such a contrast between Jamie and Cordelia's warm little house and then the cold winter and the stabbings and shit and it felt like a nice little callback to the actual Ripper phenomenon that preceded them and a nod to the Whitechapel Fiend story from Tales from the Shadowhunter Academy.

Bitch OFC that whole thing with Wayland was a set-up like nawww that was too easy to spot and I get why Cordelia feels like shit about it.

Dawg Lucie was just the Among Us imposter here in that my girl was just venting and sneaking around with dead people and I was like nooooo girl run, don't deal with Fade this is a set-up THINK ABOUT JULES LUCIE THAT'S LIKE YO GREAT-GRANDSON *sobs* but yeah anyway my girl has death powers she gonna kill some bitches next book.

You see that confrontation between Lilith and Belial? MASTERPIECE DIALOGUE like this was the point within which I was just like "yo is this the book of Genesis or a YA Fantasy novel" like when Lilith said "I may have been cast out but I did not fall" like??????????????????? I YELLED she did not have to END Belial like that. What a bad bitch.

More on Lilith and Belial... "You, who brought nations into darkness? Shall I finally be able to tell the infernal realms you have gone mad, lost even the image of the Creator." HAHAHHAHAHA SHE SAID "YO BELIAL GO GET SOME THERAPY AND GET OFF MY ASS" LIKE??????

Ughhhh yasss Clare has improved writing diverse characters in this book compared to in The Dark Artifices in my opinion... I'm not gonna expand on it cus ain't nobody got time for that but like, I enjoyed how she wove Persian poetry and tales into the story and the way in which she writes Cordelia and Alistair. They're not caricatures of Persian people but rather multi-faceted beings who also happen to be Persian and I appreciate that. Also, Alistair and Thomas and Anna and Ariadne were just so fun and interesting to read as coupbles but also as individuals. She really higlighted diversity in a very natural manner. All I need is a hijabi character and I’ll die a happy woman lmao.

The level of META man like the references to Classics and art (I swear, she might have compared Matthew to angels out of Caravaggio AND Rosetti AND Boticelli paintings and I Am Living For It) and just all the quotes from holy books and shit omg I love it here like you really feel catapulted into the time period, she draws reference to external art and philosophy so well and I feel like she upped the notch on it in this book (didn’t know that was possible but it was the prose is BEAUTIFUL, archaic, but not pretentiously so). No, like the characters live in their OWN worlds of literature and art and history in the way we are living in THEIRS. They quote Wilde and Milton while we'll quote Clare. It's awesome.

This is an unusually structuralist take even from me but: I like the way the milieu social of the book, i.e., the high society Edwardian circles and their values, have a direct influence on the plot. James and Cordelia got married because society’s values essentially forced them to, not a demon. Cordelia abandons Jamie at the end of Iron because her shame as a woman in society and fear for her reputation made her, not a demon. Thomas and Alistair can't be together solely because of how Alistair tarnished the reputation of the Fairchilds and Lightwoods by using the horror of infidelity against them. Issues relating to marriage, gender roles, etc, stemming DIRECTLY from the time period rule the sequence of events to the same degree as the epic fantasy aspects (demons, Princes of Hell, the lore itself) do and I LOVE that dear God above.

OKAY THE GOOD SHIT LET US TALK ABOUT CHARACTERS AND SHIPS (N.B. but imma discuss Matthew and the Fairstairs situation separately below this portion):

Alistair's redemption arc: No, cus Alistair's redemption arc is honestly amazing. He really did change and it's not like his betterment as a person was linked to any one heroic deed but rather he simply decided he wanted to be better especially for his family and he decided to become a proper protective son, a caring brother, and an amiable friend. He fully owned up to his Malfoy tendencies and apologized without expecting forgiveness. He shows how he cares in the little ways and omg it's so sweet and tender. I really do want him to love himself now and be embraced by Matthew especially and the rest of the Thieves.

Dawg Lucie and Jesse are so funny to me like it's so hilarious how this girl fell in love with a whole ass ghost that no one else knows about like HHAHA. Are Lucie and Jesse my ult ship ever? Nah, but it's nothing to do with Clare, it's just that their relationship happened pretty quick and feels quite like something epicly romantic that Lucie herself would write. I just like slow burn and friends-to-lovers the most from Clare. To be honest part of me just wanted Lucie to not have a romantic arc all together but like, it's all good, I'm not complaining.

Okay Grace- like yooooooooooo I never hated her yunno. She has been abused and isolated all her life. It's not that she is a bad person, but rather that she does not know what being a person even entails. Can't even say she's a “doll” of a person cus she's never even been pampered like one by her family. I really started understanding her motivations since when they gave us her half-childhood with Jesse. I want better for her but cmon can she REALLY be saved???

GRACE X CHRISTOPHER *pretends to be shocked*... Okay, sometime in the middle of the Dark Artifices series some big brain put together a very thorough family tree of the families and like, it clearly showed that Grace and Christopher got married so like, lmfaooooo, I knew this was coming one way or another, but the journey to this ship is more important than the destination. Like in a way Christopher is such a cute baby lamb that it makes sense he'd end up being immune to her Grace-ness when he's just a cute little Einstein boiii. Like this is just so funny to me cus he's so oblivious to social conventions while she makes the milieu social her entire life so OFC it's gonna work. Like, this is such a worlds-colliding trope like just Give It To Me.

James and Grace - aw mannn Jamie just had me fricking wanting to hit a wall every two seconds cus like yooooooo every single time I think he and Cordelia are gonna stop being emotionally-constipated spouses, Jamie says some kinda shit like "omg me and Daisy are just friends uwu" like DO I NEED TO HIT YOU?????????? See I can't blame him for not slamming the door on Grace's face even tho he totes should- Jamie is so cerebral and kind that even if Grace wasn't using the enchantment on him, I think he would always be soft for her even if it isn't in a romantic way. There's just so much miscommunication cus like he said "Thank God" when she broke off the engagement with Charles and lowkey embraced her but it also wasn't his fault cus it wasn't even romantic BUT OFC IT LOOKED HORRIBLE TO CORDELIA like James literally never told the woman at least once that he loved her so OFC she thought she was back to square one with him dear God above what a mess. Not his fault, but she DID set down one rule for him: don’t cheat with Grace. And yeah even tho he hasn’t properly cheated, it must FEEL horrible to her cus she’s just been enduring the pain of their unrequeted love for so long :((

See imma just say it but if Cordelia thought that James didn't love Grace then she def would have confessed to him about her feelings right but like James, on the other hand, was delaying his own romantic confession cus he was BEING EMOTIONALLY CONSTIPATED and I can't even say the bracelet was solely to blame cus like my boi was just being so difficult omg I believe he should be lightly spanked by his three parents aka Will, Tessa and Jem *cries*.

Cordelia is such a MOM like she's so mature and stable and her self-preservation instinct? OFF THE CHARTS I love this woman like James definitely treated her well as a hubby but like I JUST WANTED HER TO HAVE CLOSURE ABOUT SOMETHING and boy oh boy she did get that closure she got it good but not from the person she expected in the LEAST *hehe* *pelican screeching*... like Lucie was being sus with the whole ghost business and James was being just, quite a case, dealing with Grace and Belial right and I don't blame them at all for their secrecy and shit but her FATHER DIED and her friends were hiding a lot from her so in a way she turned to Alistair for help but he could only do so much cus of his own pain (she couldn't even talk to her mom cus she's pregnant and she doesn't wanna stress her right) and then there was this emotional block between her and Jamie, Lucie was often absent and conspiring with the dead... the last person remaining was HIM (imma discuss this soon), but yeah my heart just went OUT to her cus she's tryna save herself and her family and she just doesn't know what to do. That's why I love the way her mom told her to stop holding herself back for others and live her own life. Like Cordelia grew on me so much cus in Gold she undoubtedly was a strange Elizabeth Bennet-wallflower hybrid and I... do not usually get attached to wallflowers but in Iron I feel like I finally understood that she was just tryna be unproblematic and self-preserving all along and nottt put her family and friends in a tough situation.... she reminds me of my mom personality-wise so yeah I’m totally rooting for her now that her *situation* in the past seems clearer.

Anna, Thomas and Matthew are such a SQUAD lmfaooooo like united in their gayness they'd be so unstoppable.

Will and Tessa are the most in-love of all the in-loves in this story and I respect that so much.

I lost a year to my life every time the romance between James and Cordelia got cockblocked. Like they were MARRIED and I thought they were gonna at least sleep next to each other at least once BUT NO James couldn't take a hint omg I'm actually gonna eat my fist and sob (but in retrospect, I think this serves a bigger purpose in terms of the narrative structure i.e. the interruption of all the spicy James and Cordelia action serves a bigger purpose which I think brings me to my next section, *exhale*)

Welcome to the Matthew Fairchild Enthusiast Club (this section is me talking out loud; it makes no sense):

bitch.

LISTEN TO ME LISTEN WELL I LOVE THIS BOY SO MUCH IMMA SCREAM I REALLY AM GONNA SCREAM MY FIST IS LITERALLY IN MY MOUTH *BACKFLIPS OFF THE ROOF WITH LANA DEL REY PLAYING*

Okay like where to BEGIN I think the Shadowhunter boy who I'm most attracted to is Julian while the one I love the most is Will but I think I see myself in Matthew the most. Like ever since that first story where the Thieves all met at the Academy then got expelled, I think that I just KNEW Matthew was destined to be epic. Plus the whole Wilde obsession? I’m no libertine myself but I just love his chaos and passion for life.

NO CUS HE'S SO WITTY AND SWEET AND EPIC AND YET SO SECRETIVE AND DEAR GOD ABOVE AHHHHH WILL HE SURPASS JULIAN FOR ME??? Ion even know but this is just sodjsgdwsdygyegydgef

Hear me out but I said after finishing Gold last March that I wanted this book to be Matthew's healing arc right so halfway into the book when I realized that we weren't getting all that good healing arcing I was confused just cus I thought it seemed natural to address all of his alcohol issues and sadness by now. LITTLE DID I KNOW CASSIE WAS SETTING UP A WHOLE OTHER ARC WITH HIM THAT I WOULD HAVE NEVER GUESSED WTH.

At first I thought Matthew didn't have feelings for anyone at all, and if he DID develop feelings unexpectedly, I fricking thought that maybe he's catching feelings for James, if anyone??? I mean, I did have some suspicions about Matthew from the get-go: like he's so secretive and as readers we think we know everything there is to know about him since we were all privy to the truth potion incident in his short story right BUT NO I GOT PLAYED AND I DESERVE IT SO BADDDDDD.

Listen I hadn't shipped him and Cordelia simply because I never thought it in the realm of possibility but it MAKES SENSE as a ship... think about it: he never says what he feels, he flirts with her like he does with EVERYONE, he is kind to her in the way he is with EVERYONE. Really, Matthew is shippable with everyone, doesn’t matter if they’re taken cus that’s just what his Matthewnes allows for ya feel. There is such a beautiful irony that CORDELIA herself did not see this coming. Even the little teasers and hints in Gold have only NOW started making sense to me likejhss. I just felt like the hints in book 1 did not indicate to me that Matthew really harbored real romantic feelings for Daisy. I thought he was upset that James and Cordelia were being fakes, not a developing CRUSH on the woman fgs.

Not to mention that you usually sense a ship building when the emotional connection or sexual tension between the characters is made clearer but to me their FRIENDSHIP grew right but it didn’t feel like Cordelia was thought that she liked him or he liked her so that means me and Cordelia are clowns *together* 😤

Okay I was lowkey having SUSPICIONS but I immediately shut them down right... like firstly when he took her to the White Horse in his car and she went OFF and OFF and off about how she felt free for the first time? I thought Cassie was just tryna develop Cordelia's self-liberation arc through Matthew there. Heck, I didn't even think ANYTHING of it when Matthew confession to Cordelia about the "truth potion" incident at all cus I was like they're FRIENDS??? BUT now it's adding up now...

See when they were at the inn place and he was telling her that she doesn't in the least seem like a 100 year-old married woman? I was like hmmmm he's so sweet but why did Cassie phrase it like that like??? When Cordelia later reiterated that she thought Matthew's flirting was “meaningless”?? I was like hmmm kinda SUS tho. And then when he and James had their fight over the way Jamie kissed Grace like again I thought he was just like? ion know? mad at James for it but I didn't think he was in LOVE with Cordelia??? So I immediately put aside my slight suspicions. The probability that he had a crush on James at that point seemed more likely to me.

BUT THEN it started hitting me that every time Matthew drank, even before he explained his issue with the truth potion, that Cordelia would note it, she would worry about him, she would think of her father which seemed so poetic to me, history repeating itself and all that but this time you can FIX it??? Yeah, but again I didn't think the L WORD would be involved man???

Now imma sound like a delulu shipper here but it just makes sense they would develop feelings logically- reason being that it definitely is possible based on the way Cassie set up the story, like there's a combination of little “friend things” that can turn this into a proper ship: Matthew rescues Cordelia in the ballroom when Grace captures James' attention in Gold. Cordelia sees her father in Matthew all the time but knows now she has a chance to be there for him in the way she couldn't have been there for Elias (classic “history repeats itself” trope, she doesn't want Matthew drinking in Paris like dhshghdfhdhch). Cordelia tastes freedom for the first time when driving with Matthew. Matthew caught James and Cordelia making out in the room and was pissed but not even HE properly knew why then??? Umm, when she thinks James is forreal cheating with Grace on her she subconsciously goes to Matthew??? I also found it funny just how every intimate marital moment between her and James got interrupted somehow. Like, it's as if the narrative is just a living force REFUSING to let James and Cordelia as a ship be consecrated. Heck, every time Matthew is scantily clothed Cordelia notes it. LITTLE CRUMBS I TELL YOU LITTLE CRUMBS.

I tell you when Cordelia showed up to Matthew's flat I thought they were gonna f*ck as friends but I got SOMETHING EVEN BETTER SOMEHOW

THEY ARE GOING TO PARIS LA BELLE EPOQUE PARIS THE PARIS OF DREAMS AND ART LIKE??? FRICKKKKK I DID NOT SEE THIS COMING AT ALLLL MAN? I deadass thought the story would be restrained to the UK but like it MAKES SENSE the trope subversion MAKES SENSE.

“In Paris, with you, I will not need to forget.” SHITTRGEGGGDG

BUT CORDELIA LOVES JAMES TOO LIKE I CAN'T DENY THAT... where are we GOING with this like Matthew wouldn't lie about his feelings and yet Cassie wouldn't give us Matthew and Cordelia crumbs to only end it in the next book immediately for her to just ditch him for James. I mean she was clearly holding back on fleshing out James and Cordelia as a ship for this but to WHAT END??? Daisy feels wild and free with Matthew and she feels warm at home warm with James. I can’t advocate for the sinking of ANY ship here.

Imma say what we're all thinking: Is she gonna give us a Will x Jem x Tessa type situation where Cordelia gets both of them cus I'm not strong enough for this but I also think it'd be really funny if James gets a surprise bi awakening in the next books and then we get POLY even tho this would never happen, it’s actually impossible, because of the whole parabatai thing.

Listen I ship Cordelia and Matthew much more than Cordelia and James, not that I dislike James in any way tho. It's just: Matthew is so unrestrained and she's so composed. They seem like an unlikely pair so it makes sense that they hit harder for me. James and Cordelia have such similar personalities but I ALSO don't ship James with Grace at all so like?? Poly would be... ideal... but it can’t happen especially cus they are fricking parabatai... a Will-Jem-Tessa situation seems more likely but mannnn ion know what to expect. I just want FAIRSTAIRS to have their moment in Paris. I mean James and Matthew clearly don't abhor each other for this.

Take everything I say with several grains of salt, take everything I say with the whole Dead Sea actually, cus I damn well know that Matthew is so flirty and whatnot that I’d have shipped him with anyone in their little circle but now that she set him up with Cordelia it all feels so right?? I have wanted this man in a good relationship since he walked onto the page in Nothing But Shadows so-

ahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

I can't believe Cassia duped me like this omg, Matthew is gonna have his healing arc in Paris with Cordelia by his side like- THIS IS ALL I HAVE WANTED AND SO MUCH MORE. Question to yall btw: are you all as surpised at Fairstairs as me or did yall see it coming all along like smart people? Am I a lone clown? 🥺

BRUH okay criticisms of CC?:

Lmfao a part of me feels like I GOTTA say something bad about CC or the book but honestly I have no objective complaints about it as of now. Am I saying that it’s the PEAK of Young Adult literature and Urban Fantasy? I mean, I make no such claims tbh. I’m not here to be critical when I read as a hobby and when CC’s writing makes me happy regardless of how flawed some people see it.

Okay what next?

So like I’m excited for the adult high fantasy she’s releasing in the fall and whatever other works she might be releasing outside of Chain of Gold within the Chronicles.

As for TLH itself? Man I’m just VIBING like I suspect I will reread Chain of Iron soon and maybe one of the anthologies just because I am happy that this series actually happened after me waiting like 6 years for it when it was just a concept: a Dickensian retelling filled with poetry and culture and history and the conventions I so loved in TID at age 12. This is all I been wanting tbh. I’m just enjoying watching this series come to fruition for it to inspire and transform me in some way. I feel like in a way my coming-of-age aligns with that of these specific characters yet I ALSO feel like I raised Jamie since infancy. Wack.

MATTHEW AND CORDELIA IN FRANCE LA BELLE EPOQUE TO BE EXACT IMMA CRY I DID NOT SEE THIS COMING AND AHHHHHH. ALSO WILL AND JAMIE GOING TO CORNWALL TO GET LUCIE AND MAYBE BOND I LOVE WILL. HE WAS ONE OF MY DILF AWAKENINGS AT AGE 12 AND NOW HE’S HERE AGAIN IMMA CRY. I WANNA SEE MATTHEW GET HAPPY. AHHH.

Ending with a fun quote: “In the wise words of someone or other, there are more things in heaven and earth than are dreamt of in your philosophy, Maurice.” 😉

[thebadchoicemachine]

SBI HadesTown AU That Lives In My head Rent Free

(in fact I probably pay it to live there)

Links at the end under the cut.

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Starring:

• Dream, George, and Sapnap as The Fates  • Philza as Hermes • Wilbur as Persephone  • Technoblade as Hades • Tommy as Eurydice

and

• Tubbo as Orpheus

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Changes to the story - 

Instead of spouses, Wilbur and Techno are estranged brothers.

Instead of lovers, Tommy and Tubbo are best friends.

The focus is still on restoring balance to the world but through familiar and platonic love instead of romantic. Also, the reason the world is so bad is a more social crisis (some people work too much while others can’t work at all) instead of a natural one (the seasons being wack.) 

It takes place during a seething summer drought rather than a frozen cropless winter but its still the same tune of spring/fall disappearing because the the world being out of tune. 

Character Changes -

+ Philza is an old god. He’s not weaker nor stronger than Wilbur/Techno, just fills up a very different role. He’s god of history, of legends, of simple stories and narration. He’s very human compared to most gods, some theorize perhaps he straight up IS human in some way shape or form. He lives a human life to meet people and collect their lives and stories and appreciate them. He can’t really interfere as more than a mortal man but still just tries to give as many happy endings as he can.

+ Tommy’s a scrappy lost child. His problem is similar to Eurydice but a little inverted. Rather than learning to trust people he needs to learn to value them. He’s no issue with interacting with people and enjoying their help/company but he’s a tendency to use them. He doesn’t believe they’ll stick around so he doesn’t bother caring about them.

+ Tubbo is also an abandoned child. Unlike Tommy he grew up in one spot, although still homeless. Philza found him camping in a crate box behind his station and gave him a job and a bed. He’s pretty much exactly like Orpheus, optimistic, sees the world for what it could be instead of what it is, but maybe spends a little too much time looking forward and not around.

+ Technoblade is basically the god of work and motivation. His problem is generally the same as Hades’ in that he misses his family and is too busy working and building security for what he wants to get what he wants. He misses his brother so much he’s hardend himself to the reasons they’re apart so much in the first place.

+ Wilbur is basically the god of play and rest. In this AU, instead of Hades, Persephone’s role is the biggest reason the world is out of wack. His problem is that he doesn’t face his problems. As the god of such frivolous things as music, games, rest, etc. he is (feels) weak and useless. He’s jealous of Techno and how needed he is so Wilbur retreats away to somewhere he feels needed and wanted, entertaining miserable people. He’s stayed away for longer and longer amounts of time, not realizing his distracting them from their troubles (inadvertently preventing them from fixing them) is a reason they’re so miserable in the first place. All he can do is have a good time so he’s begun forcing it every second of every day and ignoring his brother in the meantime. He needs to learn that he CAN do good, people NEED breaks and fun, but recklessly enforcing it only enforces what he fears, that he’s a liability. 

So, the main problem is a cycle the brothers have spiraled into:

Techno does obviously important things (stirring progress and improvement) and Wilbur feels bad, unimportant, and like a burden.

Wilbur leaves Techno to go distract himself/play with the humans.

Wilbur becomes useless and detrimental without Technoblade there to balance him out.

Techno works even harder, becoming empty and cold without Wilbur there to balance him out, trying to get enough work done so Wilbur won’t have to worry and will come back.

Wilbur sees Techno working so hard and shies away even more so as not to disturb his brother’s important work.

Technoblade has to basically force Wilbur to stay with him now, making it more work.

Wilbur sees Technoblade as both too important for him and now generally unappealing as unnecessary effort. Besides, he’d probably just get in the way.

Technoblade now sees Wilbur as just another part of his endless job. Keep people working, keep things improving, keep the numbers going up, try to keep Wilbur here. Its become work for the sake of work instead of work to the sake of rest.

So even when they’re together neither is relaxed enough to balance the other, both are distant.

Wilbur’s become too carefree, he ignores Technoblade and drops anything that seems challenging, including reconciliation and self-examination. He’s still just playing, even when with Technoblade.

Technoblade’s become too obsessed, focusing more on how to get and keep his brother with him than on being with his brother. The work has become meaningless without the end goal that Wilbur provides. A self sustaining cycle of labor for more labor’s sake.

Now the humans are suffering because they find themselves trapped in an unbalanced cycle of being either incapable of work or incapable of play.

Thematic notes:

- The dancers in the station during the first half are Skeppy, Antfrost, Bad, Eret, and Puffy. 

- The workers (the dancers in the second half) consist of Niki, Fundy, Quackity, Ranboo, and Awsam.

- Tommy is implied to vaguely know/be brotherly to Techno and Wilbur, this is partially how Techno convinces him to leave and go work for him. 

- Likewise, Philza has a few lines about feeling sorry about how Techno and WIlbur have ended up (implying he took some part in raising them) and already knows Tommy when he enters (implying he’s been a dad to helped Tommy out before.

- Technoblade is less malicious than Hades, more just cold and apathetic. In a way, he thinks he’s helping by pulling Tommy away from Tubbo. He, like Wilbur, believes that work is good so more work must be better, even if you’ve nothing to really work towards. At the end he listens to the fates because needs to figure out how to let Tommy go without undoing either all of Wilbur’s power or all of his. 

- Tubbo’s song has a bigger impact on fauna than floral, specifically insects. His first song brings out bees, butterflies, and moths that Tommy goes all star eyed for because pretty bugs but more importantly, living things that don’t want to hurt him!

- Instead of a flower Tommy gets a big beautiful orange moth (named Clementine) that hides in the back of his coat neck whenever Technoblade is near. He remembers in ‘Flowers’ when he goes to wipe some sweat from his neck but its Clementine and she flies around him while he sings. (I thought that’d be much prettier than him just holding her like Eurydice holds the flower.) 

- During ‘Living it Up On Top’ Wilbur dances specifically with Philza (who greets him very much like a father might greet a son who’s been away for a long time) and Tommy (who he teases and ruffles his hair a lot).

- Wilbur does drugs instead of alcohol. He... he makes a lot of drugs so I thought this would be an appropriate swap. Also it’s really funny to me that he sings Our Lady Of The Underground (or, Brother To The Underground) just completely stoned; handing out weed and shit to the workers.

- Instead of a mine Hadestown (Technotown? Technoville?) is a farm in a giant glass case built way up high. Instead of going through the dark that challenge is Tubbo has to climb up its side to avoid the train. Its an unnatural and unwelcoming greenhouse. Everything grows in lines but they’re mismatched and overrun with thorny weeds. Everything is grey and tough and flavorless. There’s so much dust and dirt being kicked up it’s hard to breathe and see. The workers are using various gardening tools during the beats instead of swinging a pickaxe. Half will sharpen while the other half swings (tilling the ground/cutting weeds), it makes a real nice schwing/thunk mix sound. 

- During ‘Word To The Wise’ George sings (“if you tell them no you’re a heartless man”) Sapnap sings (“if you let ‘em go you’re a spineless king”) and Dream sings (”here’s a little tip”) and (“men are fools, men are frail”)

- Tubbo still looks back during ‘Doubt Comes In’ because he's scared of Techno and feels bad about himself (“Who am I? Who am I to think that he would follow me into the blazing heat again”). Techno, Wilbur, and Philza try their best to take care of them but it’s still a tragic ending. 

- Tommy and Tubbo may or may not become (very sad and minor) gods. Unofficially and not in the story, but still... maybe. If they WERE, hypothetically,  they’d be a very tragic pair. Tubbo would help mend relationships and guid people towards good advice while Tommy would help catch/ignore/cut out bad ones. Always working together, never together. 

Lyrical Changes 

> Pronouns are changed, obviously.

> Techno and Wilbur sing “brother” instead of “lover.”

> During ‘The Wedding Song’ (The Friendship Song, I do not care if it’s childish, Wedding is replaced with Friendship) They sing each other’s names instead of “lover.” (Tubbo, tell me if you can...////Tommy, when I sing my song...)

> Anytime they’re complaining about the cold winter replace it with a hot summer

> Tommy’s lines are much sharper. He never loses his edge with Tubbo. Instead of him remembering him and going “my best friend, Tubbo” he remembers and says something more along the lines of “that fucking idiot, Tubbo” but he’s say it with a quivering smile and bittersweet tears in his eyes. Harsh in words not in tone. 

> Wilbur still pours a glass for a toast during ‘Living It Up On Top’ but the rest of the time he’s smoking something instead of drinking. (Who gives breaks when the work is hard?//That's right, Wilbur Soot!//Who makes the music? Who’s your bard?//(Wilbur Soot!)//Thank you//Who makes a rough life fun again, in spite of a pig//(You do!)//Who’s the most awaited gig? Eh? Wilbur Soot, that’s who!)

> When Wilbur shows up during ‘Chant’ he complains about how cold and dark it is. (Colder than a tundra) Techno explains it away as having set up shades/coolers to counter the glare from the sun through greenhouse glass and how he did it to protect/comfort Wilbur. (Brother when you feel that chill, it’s my protection from the kill, its my protection that i’ve built for you.)

> In the Chant Reprise the workers are singing about why they’re working if they can never enjoy the security and safety they keep making. Technoblade, instead of telling him to buy Tommy’s love, tells him to make himself needed. He, instead of warning Tubbo about Tommy leaving, scolds Tubbo for being too light and fluffy and spinelessly letting Tommy go. He scolds him for trying to take Tommy away, back into uselessness and empty fluff, when he’s found a good purpose because clearly Tubbo wasn’t point enough. 

> Philza’s still the narrator, but diegetically his lyrics show more clearly that he knows everyone in the story already. I really like the idea of him giving Tubbo advice on making friends that gets shown in ‘Come Home With Me’

> When Tubbo sings about Techno, instead of singing about minework, he’ll sing things like ((from the second stanza of Epic II) “Technoblade, king//of power and pain//of a hard days work//that never ends//and for half of the year when Wilbur’s away//the strain and the stress just won’t give way//he thinks of his brother, light and carefree//and is taken in a rage of obligation and need//to ensure wants are met and safe//so there will be time for play//so his bother//his brother comes home) 

--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

This post all started because I was thinking of Tubbo singing the “La lala laaa” that was originally Wilbur’s song. 

Also, I realize this entire AU is just one big punch in the gut to Philza, like, “HEY, ALL YOUR SONS ARE SCREWED UP, NOW SING ABOUT IT.”

[luciensfox]

ACOSF Thoughts...

Don’t read unless you wish to be spoiled! Here are some things I can’t get out of my head after finishing the book...

Well first and foremost, I absolutely adore Nessian (as I always have but now it’s even more so) and I’m incredibly pleased with the direction it seems that SJM is leading Nesta’s character development! I’ve always wanted a badass warrior Nesta and I got way more than I figured (short of her growing wings at any time as I think some Valkyrie myths depict, this is amazing/ especially with all of the parallels people drew with her and Enalius). She’s going to make for an interesting character in the coming books and dare I say...commander Nesta. Oh, yes.

Of course I’ve always been obsessed with Lucien and nothing has changed on that front, but I’m even more intrigued now because we still need so many answers. When will it be revealed that he’s the heir of the Day Court? What’s the standings between he and Tamlin? With Vassa and Jurian? With his mother/ brothers? His mate? We literally got only two or three scenes with Luc involved so I knew nothing would be resolved in this novella, however I’m even more excited to see how Eris will play into his character arc come the next story (because you cannot convince me that SJM would put more emphasis on Eris than Lucien in this book and not intend for some brotherly angst in the future). Eris is also an anomaly and maybe it’s because I’m obsessed with the mysterious nature of whatever the hell is happening in the Autumn Court, but I really can’t wait to see what’s up with him and the rest of his family. (Also....the ballroom scene with Nest and Eris dancing to what is supposed to reflect Black Swan was one of my absolute favorite scenes.) Does Eris secretly desire peace and wants to take over Autumn not for power but to make amends and heal/ bring back glory to his home? And what exactly happened with Mor? SJM put so much emphasis on that too and we still have no idea.

I LOVE Gwyneth and Emerie. The triad of Valkyries was honestly the best part of the whole book for me. I know everyone is quick to match up characters with potential romances/ mates etc and it sounds like that’s what will happen with these two...but let’s not forget that they’re incredibly strong characters on their own terms and I hope whatever comes about their arcs isn't entirely placed on their romance status. However, they both seem to want to find someone to be with which leads me to believe that Emerie and Mor will very likely end up together (if only for the fact that we got one sentences indicating Em finds Mor gorgeous....I guess we’ll have to wait and see what happens) and that Gwyn is going to be a potential interest for Azriel. 

I love Lucien so much, but my soft fox boy needs to heal and stop forcing himself to find romantic love when all he really needs is some self love. (So perhaps that will be his final journey....Lucien finally coming to terms with his trauma, settling ties with everyone from his past, and taking up his mental as Helion’s son and the future of the Day Court.) 

Elain seemed a bit OOC...and yet not at all? We’ve only got the chance to see the “sweet/ innocent” side of her, but it makes sense that she’s going to be a super complex character (SJM wouldn't have set her up so mysteriously if the intent was to leave her as a mere gardener) and that her journey in following books will show us a side of her we’ve never encountered. The Elriel ship has always been a confusing one for me, not because I don’t ship it but because there’s so much happening all the time that it’s hard to get a proper read on clues when SJM throws characters like Gwyn at us...coupled with the fact that Lucien seems to still be in love with Elain (or at least he’s just lonely and doesn't know how else to react, never mind whatever is happening with Vassa and Jurian), and that Az seems intent on getting with Elain....but Az also seems to be the type of character who falls in love deeply without considering a number of things. He’s driven by his desires and often hurt by them, hence his love for Mor. Notice how shortly after he started drifting from his desire for Mor, he started to desire Elain? Part of me wonders if it’s because he found the person he’s meant to be with...or if he felt attracted to her and she was a distraction to his pain and a means to help him get over Mor. Like I said, I don’t know which way I lean just yet but these are all possibilities!

Then there’s the Gwynriel ship--totally didn’t see that coming but I can’t say I don’t enjoy it. I love how Gwyn teases Az in a way that many others usually don’t dare, and that she’s another character with a history outside of the IC. While there’s a lot to consider, like the fact that Az’s shadows shy away when Elain is around but “dance” and seem to be overjoyed when Gwyn is nearby, I think a truly noticeable parallel to the pairing could be this:

Azriel is no stranger to unrequited love. In fact, that seemed to be his overarching characteristic for the first two books. Now that he’s found Elain and she also reciprocates their shared desire, it would be easy to pair them together. However, Gwyn seems to be interested in Azriel and Az can’t seem to figure out his standings with her other than being enticed and not realizing what’s in front of him because he’s so determined to be with Elain since “she’s the third sister and he the third brother” etc so it must make sense somehow even though Elain is mated. But Gwyn, to that extent, is no stranger to unrequited love either. 

Just imagine: Azriel finally cracks in the following book and shows a rare display of emotions to either Gwyn or the IC (or both) and Gwyn decides to confront him about facing his fears (his past with Mor, his current standings with Elain, his desire to have someone) by claiming that she knows exactly what unrequited love feels like because every day she stares at him and feels precisely as devastated as he did/does whenever he sees Mor or Elain. Az will probably be shocked to all hell and maybe it’ll snap him out of his misery enough to think clearly on the whole matter.

The Rhysand and Nesta friendship was something else I wasn’t expecting, didn’t necessarily think I’d want, but now am excited to see bloom. They definitely do share traits and I can’t help but remember how Rhys once compared Feyre to Cassian and how Nesta and Rhys might be the opposite counterparts since they’re both haughty and respond to things with incredibly heightened emotions because they love fiercely. 

This post is much longer than I’d intended but oh well, some other things for your consideration.....

A Varian/Amren x Nessian double date.

Nesta taking on a similar military role as Cassian and either leading a female unit of Illyrians/ Valkyries or sharing the brunt of Cassian’s job (plus come on... those two training together is essentially their respective version of foreplay and I’m so here for warrior Nessian bonding).

I hope we get to see that mating ceremony scene!

Also....does anyone remember Balthazar--the Illyrian who showed up for one scene and fell asleep on Nesta’s shoulder during the Blood Rite while he helped them find shelter? There’s no way SJM would’ve written in a character like that without intending for him to show up again in the future....

Koschei the deathless? Wonder what will occur there. 

Damn, if you’ve made it this far give yourself a pat on the back. 

[dwellordream]

If you could rewrite Alysanne and J****erys’ daughters to make them fully-fledged characters instead of paper-thin stereotypes, what would you change? (Censored you-know-who’s name because we don’t acknowledge him in my house 🙅🏿‍♀️)

Lmfao at you-know-who.  Daenerys: I actually think Fire and Blood does an okay job of building up Daenerys’ character (though of course it’s pretty obvious from her very first appearance she’s going to die tragically young, forever the ‘darling of the realm’). I don’t know, maybe we could have had a scene of her interacting with Aerea or Rhaena or something to get their reactions to her being heir for the first two years of her life before Aemon’s birth. Alyssa: My problem with Alyssa is not that she’s a tomboy. My problem with Alysaa is that she is a generic trope of ‘not like other girls!’ with no actual development. Unlike Arya��s very well-written arc in canon, Alyssa’s failure to conform to her society’s rigid gender roles and her interest in more traditionally masculine Westerosi pursuits like dueling, riding, climbing, etc is never examined in terms of how it effects her relationships with her family members and her thoughts about her future. There’s no scene like the one between Arya and Ned where Arya questions why she can’t be rule in her own right or build castles or advise kings, etc. There’s no detail given to how she got along with her mother and if Alysanne encouraged her ‘wild’ behavior or was more disapproving of it, etc.  Despite all this attention paid to how Alyssa refuses to conform to the expected role of a ladylike and demure princess, she seemingly has no problems with being married off at 15 and being expected to stick to being a wife and mother? There’s absolutely no conflict there, and there should be. Even if she was really in love with Baelon and had no issues marrying him, I find it hard to believe that she would pivot from wanting to spar with her brothers in the training yard to telling Baelon, totally seriously, “You were made for battles, and I was made for this. ...As soon as I am well, let’s make another. An army of your own!”  That seems like a pretty drastic shift in personality, and it’s never explained. Maegelle: Maegelle just needs more development, in general. She’s not this offensive character archetype, she’s just incredibly barebones, the barest outline of a character. Only one line is spared to her relationship with Alyssa, who was only two years older, and that is ‘Alyssa bristled at the baby at her skirts’. It would have been nice to see some interaction between them, any at all; they were close in age growing up, surely they spent time together, even if they had very different interests, and they must have been educated together by a septa. There’s also barely anything devoted to how Maegelle viewed Daella beyond being her ‘guiding star’. What does that mean? Was she protective of Daella? Did she spend more time with her little sister than the rest of the family? Was she upset when Daella was married off? How did she and Daella react to Alyssa’s untimely death?  What about Maegelle’s ‘gift for healing’? When did that show up? When did she begin to study healing? What motherhouse did she go to? She was very bright, so what else did she like to study? Did she ever wish she could study at the Citadel? Did she correspond with Vaegon? Did she do any writing of her own? How did she help her parents resolve their conflicts? Did she help resolve any other political or familial strife? Did she wish for Viserys or Daemon to join the Faith as boys? Daella: Daella seems to have been intellectually disabled in some way. How did that affect her everyday life? To what extent was she aware of this? How did it affect the way her siblings treated her? Was she scared of her father, who she seemed incapable of pleasing, no matter what she did? She liked flowers, did she like to spend a lot of time in the gardens, or did she have a personal flower garden of her own that she tended to, like Myrcella in canon? What caused her to be scared of gardens? Was she bullied in one by her siblings?  Daella didn’t speak until she was almost two. Was this scene as a cause for concern at the time? What did the maesters think? Did Maegelle teach her to read, and praise her when she was able to read aloud, albeit haltingly? Who were her other tutors? What did Alysanne and Jaehaerys think of her being known as ‘simple’? Why was she scared of Alyssa?  Was Saera punished for her cruel pranks on Daella? Did Saera single her out because Daella annoyed her or because she felt Daella took up attention from their parents that Saera did not get? How much did Saera and Vaegon’s bullying contribute to Daella’s obvious anxiety and many phobias? Why was someone asking the 9 year old Daella when she would marry Vaegon?  Why did Alysanne and Jaehaerys feel Daella needed to be wed at all? At the time they had plenty of healthy children who would presumably have multiple grandchildren to continue the Targaryen line. The overwhelming pressure for Daella to marry does not make sense when the family tree was still fairly vast in 77 AC. Why was Daella left alone with for young squires seemingly encouraged to flirt with and pursue her, a frightened teenage girl with a child-like mentality? Why was there no uproar over Simon trying to get her drunk, and Ellard forcing a kiss on her? Why was this incident seen as ‘Daella being picky’ and not an assault on a royal princess? What drew Daella to Royce Blackwood? Was he kind to her? Why did no one consider that Daella’s strong religious faith in the Seven might pose an obstacle to this marriage? Why could Daella not be permitted to wed in a sept and raise her children in an interfaith marriage, as Catelyn and Ned do in canon?  Why did Jaehaerys feel Daella needed to be married off by the end of her sixteenth year seemingly for no reason other than annoyance? Why would the marriage of a royal princess be treated so lightly? Why did Jaehaerys then threaten to send Daella to the Silent Sisters when Alysanne asked why Daella could not wait to be married? Why did Jaehaerys hold such animosity towards his 16 year old daughter that he would rather her be forced into a severe religious order where she would likely never see her family again, rather than simply let her wait to marry or not marry at all? Why were two of the men Daella was then ordered to choose between old enough to be her father? Why was she not offered the choice of Rodrik’s sons or Boremund’s son? What was to be gained from wedding her to Rodrik, since her children by him would never inherit the Eyrie? Jaehaerys just decided to chuck politics out the window in order to be rid of her? He loathed his daughter that much at that point? Daella is given no voice following her marriage to Rodrik, nor is there any interrogation of his frankly disturbing interest in a 16 year old girl he’d known since birth and watched grow up over the years, calling her his ‘precious princess’ and seemingly fetishizing her naive, child-like innocence and fragile physical state? To add onto this, there is then zero outcry towards Rodrik himself when he proceeds to impregnate Daella, leading to her horrible death in childbirth. Why do we not even get Jaehaerys’ reaction to the realization that he essentially pushed his daughter into an early, agonizing death?  Saera and Viserra: Saera is brave and clever but that gets one brief mention, and then the rest of the narrative spends all its time harping on how she’s an evil, sexy, manipulative teenage girl. Viserra is just a slightly watered down version of her. They don’t just need to be rewritten, they need actual personalities to work with, because they have none, they’re just plot devices with names designed to make their parents fight with each other.  The same goes for Gael, who seems to just be ‘Daella 2.0′ in terms of being regarded as ‘simple-minded but sweet’, and then being raped (I don’t think Gael was capable of giving proper consent to sex or understood what that meant) and left to commit suicide after her stillborn son.

[iiinejghafa]

Thoughts on secret forest s2! this is quite long lol fair warning

Overall, I enjoyed this season and don’t come away disappointed by it at all because it’s clear it serves as a “part one”/lead-in to season 3 in many ways. I think it suffered from being pulled in too many directions with respect to both plot and the chronology of the show; it felt like the writer was trying to balance keeping season 1 events relevant, setting up for season 3 (which at this point is undoubtedly about Hanjo and/or the resolution of investigative rights), and creating a self-contained story, whereas season 1, while admittedly not saddled with the burden of a prior story/season or certainty of a follow-up, was conclusive and wrapped up all the major ends. I think if more of the Hanjo stuff had been saved for season 3, or their role in the Woo-Choi case was wrapped up conclusively, it would have led to a tighter, more satisfying season along with more time for character development.

THE GOOD

I LOVED Si-mok this season. It was clear how much he grew from season 1 and he continued to grow into his emotions (acknowledging Eun-soo and Chang-jun, his stress over Dong-jae’s disappearance, how he erupted at Hu-jeong, his choice to seek out Choi to save Yeo-jin, etc.) and while he didn’t undergo as much development and changes this season, his capacity to emote and care about other people as well as his unwavering aim for justice and truth was reaffirmed. His relationship with Yeo-jin was also really well done; he’s never sad or angry with her for being cold towards him, but instead understands that she’s unhappy and frustrated with her job and gives her space to navigate that while expressing that he’s noticed and cares about her. Confronting Choi the way he did and the dinner scene (which I could go on about for days) really highlighted that he consciously knows how much Yeo-jin means to him, how well he understands her, and that he’s not going to let their relationship waver. He doesn’t believe for a second that Yeo-jin is okay, and I think going into season 3 in addition to their continued friendship he’s going to make an effort to keep an eye on her and support her.

While I was frustrated at times with Yeo-jin’s development, I’m happy with how it concluded. Like Si-mok, she unwaveringly follows her morals and ethics, but this season was the first time she felt pressured to bend on the rules due to politics and connections (ex. the assemblyman’s son) and everything that happened with Choi only confirmed that she can’t - and won’t - drift on things like this again. She also takes the high road in dealing with her career; even though she’s miserable working with colleagues who hate and distrust her, and as much as she misses her old team, she knows that staying in the Intelligence Branch is the only place she can make positive changes. It was crushing to see how unhappy she was, but given that her happiness/career conflicts were a theme this season (and was noted often by Si-mok) and somewhat unresolved, I’m sure we’ll see it carry through to season 3.

Despite their development not being as consistent and satisfying as season 1, I really loved how close Si-mok and Yeo-jin were this season. As frustrating as their relationship was during episodes 4-10(ish?), barely speaking and Yeo-jin being somewhat cold towards him, I understand why it had to happen. It reinforced Yeo-jin’s inner struggle and made her choice to forgo appearances with him later on all the more meaningful, and highlighted that at the end of the day, she will always trust him and considers him her closest friend.

I appreciated that Yeo-jin having feelings for Si-mok - a recurring but subtle theme in season 1 - wasn’t dropped. It wasn’t a core element of this season, but in my opinion, the fact that it was readdressed multiple times suggests that this is something that will continue to be developed in future seasons. Choi calls her out on it twice - and Yeo-jin never denies it, just deflects - and even Woo and Kim are suspicious that something is going on. While Si-mok doesn’t have/is unaware of any feelings towards Yeo-jin - or that other people think something is up with them - I think this season showed he knows she is incredibly important to him. Not just through his scene with Choi, which came about out of certainty that Woo would ruin Yeo-jin’s life and trusting Yeo-jin’s judgment that she and Choi had a bond, but through the way he observed her and the comments he made. “You don’t draw these days?” “Didn’t you want to work in police administration?” “You weren’t the kind of person to postpone things” “Is there a chance you won’t be okay?”; all this demonstrates he is well aware that she is unhappy and struggling, and this was his way of communicating his concern to her which is something he wouldn’t have been able to do in season 1. Another reason I’m excited for season 3 is because the natural progression from this is that he learns how to actively support and comfort her (e.g., he looks distressed and as if he wants to comfort Yeo-jin when they learn about Choi Bit but doesn’t know how).

In season 1, he notices when she’s upset or negatively impacted by something but doesn’t know how to address it and in season 2, he doesn’t know how to truly comfort or speak to her about her unhappiness but is able to convey, through his comments and remarks to her, that he sees her and understands that she’s struggling.

I’m really glad Kang didn’t succumb to Hanjo’s bullshit and resigned and even went to Yeon-jae to ask that she leave Si-mok and Dong-jae alone. I’ve seen other people theorize that Kim will step in as his new mentor, which would be cool to see, but I hope he returns in some capacity.

I loved that Choi wasn’t corrupt after all, just blindsided and dragged into bullshit, and her character served as a reminder to Yeo-jin to not compromise her values even when she’s in a rough spot or under pressure. I was suspicious of her and while I guessed right that she orchestrated the cover-up, not Woo, I genuinely thought she had more malicious intent and far-spanning connections that she would use to save herself. It was really touching that she gave Woo and herself up to save Yeo-jin, all because Si-mok approached her as someone else who cares about Yeo-jin and trusted her judgment. I don’t think Choi is a “good person” necessarily, just morally gray as many of this show’s characters are, but I did have more sympathy than I expected in the end.

Dong-jae’s disappearance and case were some of the most interesting parts of the season, and I liked how the show managed to turn a character I - at best - found occasionally amusing into someone I felt a hint of pity and empathy for. I’m sure he’s still the same weasel even after nearly escaping death - I have no doubt that he covered for Yeon-jae - but I’m curious as to how his relationship with his wife and family changes after this season. I know he’s popular but I genuinely don’t find him to be a good person at all, especially for nearly killing Eun-soo in season 1, but I’d like to believe he makes genuine changes going forward even under the guise of working for Hanjo (which seems inevitable as Yeon-jae will want to keep him in check and it will allow him to stay securely in one place, allowing him to both be near and protect his family).

I’m glad the Yongsan crew returned this season and played a part throughout. I was suspicious of Jang for a while and I’m glad he had nothing to do with any of the cases (though I’m confused as hell by that random gash and his behavior in episode 14) and his friendship with Yeo-jin was really sweet to see again this season.

THE BAD

Yeo-jin’s development was frustrating to watch at times, especially her coldness towards Si-mok and how her sunny bright personality was tamped down this season, even though I understand why. With her haircut in episode 16 (as noted by Si-mok, just like when they first met in season 1) I’m guessing that she will return more to her s1-self in the next season, now that she’s more self-assured and clear on how to proceed in her career. I think the theme of her becoming more and more close-off and shouldering her burdens silently will continue, in contrast to Si-mok becoming more warm and open, but hopefully this will get worked through in the next season.

Now that we know Yeon-jae’s subplot was basically season 3 fodder, I’m frustrated by how big of a part Hanjo group played in the story without any real definitive conclusions. There are too many loose ends - what exactly does she have to do with the meeting at the vacation house? Why does she have a relationship with Woo? What is up with Mr. Park? What relationship did she have with Park Gwang-su that led to her selecting him for the Hanjo work? What is going to happen with Hanjo Group and her relationship with her father and brother? Will she act against Dong-jae if he crosses her, or Si-mok, whom she mostly neglected and ignored this season?

I really, really disliked that the council meetings ended up being pointless. I understand that this was intentional - it forced conflict between Si-mok and Yeo-jin that would have had to happen at some point, brought Choi and Woo together, and showed that there’s no clear answer to the question of investigation rights - but it was built up to be this big thing and we only got two meetings over the span of 10 episodes.

I’m glad that the Segok case was passed on to Dong-jae’s junior, but I’m also a bit annoyed by the lack of conclusion to this case. My take was that Si-mok was thanking her for her insight and trusting that she would be able to take care of it, so I doubt we’ll hear more about it.

Si-mok’s loneliness and isolation felt like a bigger theme in the earlier episodes (lying about staying in a hotel because he can’t go to his mother’s, staying in a hotel and then the dorms, etc.) but wasn’t resolved before he was reassigned. We got those messages from his mother later in the season, but it was something that was never followed through with and didn’t ultimately contribute to anything aside from perhaps emphasizing Si-mok’s dislike for uncomfortable/unnecessary social interactions. Given the way season 2 ended with him and Yeo-jin parting ways again, and his inevitable season 3 return, I’d like to believe this will get more attention in the future. 

OTHER OBSERVATIONS

I saw it pointed out somewhere that Si-mok and Yeo-jin are going in opposite directions in their personal arcs; Si-mok is becoming more open and emotional, whereas Yeo-jin is starting to hide her emotions and silently shoulder burdens. This is a point I’m really excited to see explored in season 3 and what it means for their relationship. Does Si-mok, always evolving and becoming more emotionally mature, directly confront Yeo-jin at any point and express his observations and concern for her? Does he ever tell her that he spoke to Choi, or does Yeo-jin find out through her and how does she react? Does Si-mok’s elevated emotional intelligence come with the eventual realization that he may have feelings for her, in contrast to Yeo-jin hiding and deflecting her feelings for Si-mok this season perhaps out of resignation that he won’t ever feel that way about her? What conclusions do they draw from continuing to find each other again through the years, and how does that play into what they want for their own futures?

Yeo-jin comments that she and Si-mok are “always doing this”; working together, getting separated, and inadvertently coming back to each other again. Season 3 means that they will have to cross paths again in Seoul (I wonder what brings Si-mok back if not Hanjo?) and it’ll be interesting to see what they make of this pattern and if they ever consider what they want for their lives and future. We don’t know what Si-mok wants - if anything he’s perfectly content with remaining a prosecutor and being shuffled around to different assignments - but I can almost guarantee that he will start to feel pulled to stay in Seoul because of Yeo-jin. As for Yeo-jin, we know she misses her old team and being a detective - she wants to work with a team and do field work - but she’s also torn by her relationship with Si-mok and her desire to make structural changes from within even at the cost of her own happiness. Does this change at all with Si-mok’s eventual return and whatever developments occur in her career?

This is more general, but given how much was left unresolved and unaddressed I really feel like the writer knew she was getting at least season three. That and Netflix’s involvement (who generally move quickly production-wise) lead me to hope that we will get season three as early as fall 2021 or early 2022 barring any scheduling conflicts with the leads. I highly doubt Netflix will allow the production to stall another three years after the big numbers they pulled with TVN and undoubtedly on their own service as well.

UNADDRESSED THREADS:

Dong-jae, specifically how he handles Hanjo and what he chooses to do moving forward in his career and family

Hanjo’s full involvement with Park Gwang-su. Why was Woo brought along in the first place? What was the meeting about at the vacation house? What is so nefarious about Hanjo’s involvement, other than it was to discuss the lawsuits (I think)?

Yeon-jae’s battle with her father and brother

Yeo-jin’s backstory. We still know almost nothing about her life prior to this series other than the existence of a grandmother and her comment back in season 1 at the high school (watching the happy teen girls at the high school and saying “You should have been like that, too”). I would like to believe season 3 will finally deliver this lol but who knows

Si-mok’s messages with his mother.

How the investigative rights will be handled

This isn’t quite as open-ended, but Yeo-jin and her career. She got promoted but is universally disliked by her colleagues - though accepted by her new boss via her connection with Choi - and she’s at a desk job again after being shown repeatedly, since the first episode, that she misses her old job and coworkers and wants to go back into fieldwork/being a detective. Si-mok and the Yongsan crew are also attuned to her unhappiness and desire for her old life back, but again this wasn’t given a specific conclusion.

Yeo-jin’s feelings for Si-mok. This was addressed quite a few times this season without a resolution - season 3 fodder/carry over from season 1? - other than reaffirming the deep trust they have in each other and that she is a weak point for Si-mok (which Woo tries to exploit; given his connection to Yeon-jae, perhaps this will come back again).

Mr. Yoon’s appearances. This felt like the most obvious set-up in hindsight; there was no real plot or character-motivated reason for Yeo-jin to see or talk with him, but I’m not sure I understand the sudden sympathy towards his character or what this means for the future unless it somehow ties to Hanjo.

Si-mok’s headaches. He had two intense ones over the course of Dong-jae’s disappearance, but unlike season 1, there wasn’t an overarching conclusion or character development associated with that other than that he’s dealing with them better. This makes me feel that it will be addressed again in season 3, along with:

The theme of Si-mok being worried/stressed. This is brought up a lot in this season, and Si-mok repeatedly denies that he’s stressed about the Dong-jae case only to have two headaches over it. He clearly doesn’t understand what being worried/stressed means to him, and I think the only real resolution we got for this was that he was worried enough about Yeo-jin’s life being destroyed by Woo to confront Choi.

Woo is going to be indicted for what happened at the vacation house along with Choi, but one of the last things we hear from him is “This isn’t over. Not while I’m alive.” If he plays a role in season 3, I’m curious if he uses his connection to Yeon-jae to get out of things, or if Choi’s active role in covering up his death will spare him. Will he and Yeon-jae take revenge on Dong-jae and/or Si-mok & Yeo-jin?

I am VERY upset that there were no Yeo-jin drawings to Si-mok this season!!! Even after it was addressed back in episode 6!!! Season 3 better deliver!!!!

ANYWAY apologies for this word vomit and I’m sure some of my opinions will change over time but for now season 3 2021/2022???